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HANS HOLBEIN THE YOUNGER
Vol. II., Frontispiece
NS 1 BE1N
KING HENRY VIII
Earl Spencer's Collection, Althorp
Ill 7 YHMHH 0
""HANS HOLBEIN
THE YOUNGER
BY
ARTHUR B. CHAMBERLAIN
ASSISTANT KEEPER OF THE CORPORATION ART GALLERY, BIRMINGHAM
WITH 252 ILLUSTRATIONS, INCLUDING 24 IN COLOUR
IN TWO VOLUMES
VOL. II
NEW YORK
DODD, MEAD AND COMPANY
1913
Printed by Ballantyne, Hanson &■» Co.
at the Ballantyne Press, Edinburgh
CONTENTS
PACK
CHAP.
XVI. THE MERCHANTS OF THE STEELYARD i
XVII. "THE TWO AMBASSADORS," 1533 /&
XVIII. PORTRAITS OF 15 33-1 536 54
XIX. "SERVANT OF THE KING'S MAJESTY" 90
XX. THE DUCHESS OF MILAN "4
XXI. THE VISIT TO "HIGH BURGONY " 138
XXII. BASEL REVISITED I5<5
XXIIL ANNE OF CLEVES: 1539 X7X
XXIV. THE LAST YEARS: 1 540-1 543 185
XXV. HOLBEIN AS A MINIATURE PAINTER 217
XXVI. THE WINDSOR DRAWINGS AND OTHER STUDIES . . . 243
XXVII. DESIGNS FOR JEWELLERY AND THE DECORATIVE ARTS . 265
XXVIII. THE BARBER-SURGEONS' PICTURE AND THE PAINTER'S DEATH 289
XXIX. CONCLUSION 312
APPENDIX
A. Early Drawing by Holbein in the Maximilians Museum, Augsburg (Vol. i.
p. 43) 323
B. Designs for Painted Glass of the Lucerne Period (Vol. i. p. 79) . • 323
C. Early Drawings for Wall Paintings (Vol. i. p. 101) 326
D. Glass Designs with the Coats of Arms of the Von Andlau and Von
Hewen Families (Vol. i. p. 145) 326
The Glass Designs of "The Passion of Christ" (Vol. i. p. 156) . . 327
E. The Faesch Museum (Vol. i. pp. 88, 166-8, 180, and 239-41) . . . .328
F. Hans Holbein and Dr. Johann Fabri (Vol. i. p. 175) 33°
G. The Trade-Mark of Reinhold Wolfe (Vol. i. p. 202) 332
H. Nicolas Bellin of Modena (Vol. i. pp. 282-4) 333
I. The More Family Group (Vol. i. pp. 291-302) 334
The Portrait of Sir Thomas More (Vol. i. pp. 303-4) 340
J. Holbein's Return to England in 1532 (Vol. i. p. 352) 340
K. Lord Arundel and Rembrandt as Collectors of Holbein's Pictures (Vol. ii.
p. 66) 34i
The Portraits of Sir Nicholas Poyntz (Vol. ii. pp. 71-2) . . . . 342
V
vi HANS HOLBEIN THE YOUNGER
PAGE
L. Holbein's Visit to Joinville and Nancy in 1538 (Vol. ii. pp. 148-9) . . 343
M. Holbein's Studio in Whitehall (Vol. ii. p. 185) 344
The Barber-Surgeons' Picture (Vol. ii. p. 294) ...... 346
SUMMARY LIST OF HOLBEIN'S CHIEF PICTURES AND PORTRAITS 347
PICTURES BY AND ATTRIBUTED TO HOLBEIN, AND OF HIS SCHOOL
AND PERIOD, EXHIBITED AT VARIOUS EXHIBITIONS BETWEEN
1846 AND 1912 359
I. The British Institution, 1846 359
II. Art Treasures of the United Kingdom Collected at Manchester
in 1857 360
III. Special Exhibition of Works of Art, South Kensington Museum,
June, 1862 361
IV. Special Exhibition of Portrait Miniatures on Loan at the South
Kensington Museum, June, 1865 362
V. First Special Exhibition of National Portraits ending with the
Reign of King James the Second on Loan to the South Kensington
Museum, 1866 '. . . . . 363
VI. Third and Concluding Exhibition of National Portraits on Loan to
the South Kensington Museum, April, 1868 367
VII. Royal Academy of Arts, Winter Exhibitions of Works by the Old
Masters, 1870-1912 368
VIII. Grosvenor Gallery, Winter Exhibition of Drawings by the Old
Masters, 1878-79 374
IX. Exhibition of the Royal House of Tudor. New Gallery, 1890. . 374
X. Exhibition of the Royal House of Tudor. Corporation of Man-
chester Art Gallery, 1897 . . .381
XI. New Gallery, Winter Exhibition, 1901-2. Monarchs of Great
Britain and Ireland .......... 382
XII. Loan Collection of Portraits of English Historical Personages who
DIED PRIOR TO THE YEAR 1625. OXFORD, I904 383
XIII. Exhibition Illustrative of Early English Portraiture. Burlington
Fine Arts Club, 1909 384
XIV. Pictures by or Attributed to Holbein, described by Dr. Waagen in
his " Treasures of Art in Great Britain," 1854 .... 386
A SHORT BIBLIOGRAPHY <^390
INDEX 401
-
ILLUSTRATIONS
KING HENRY VIII Frontispiece
Reproduced in colour, by kind permission of Earl Spencer, G.C.V.O.
Althorp.
FACING PAGE
1. GEORG GISZE (1532) 4
Reproduced in colour.
Kaiser Friedrich Museum, Berlin.
2. HANS OF ANTWERP (1532) 8
Reproduced by gracious permission of H.M. the King.
Windsor Castle.
3. HERMANN HILLEBRANDT WEDIG (1533) 17
Reproduced in colour.
Kaiser Friedrich Museum, Berlin.
4. (1) DERICH BORN (1533) ■
Reproduced by gracious permission of H.M. the King.
Windsor Castle.
18
(2) DERICH TYBIS (1533)
Imperial Gallery, Vienna.
5. DERICH BERCK (1536) 22
Reproduced by kind permission of Lord Leconfield.
Pet worth, Sussex.
6. THE TRIUMPH OF RICHES 26
Design for the wall-decoration in the Guildhall of the London Steelyard
Merchants. Pen and wash drawing heightened with white ....
Louvre, Paris.
7. THE TRIUMPH OF POVERTY 27
Seventeenth-century copy, by Jan de Bisschop, of the wall-decoration in the
Guildhall of the London Steelyard Merchants.
British Museum.
8. APOLLO AND THE MUSES 31
Design for the decoration of the Steelyard on the occasion of the coronation
of Anne Boleyn. Pen and wash drawing touched with green.
Royal Print Room, Berlin.
9. THE TWO AMBASSADORS : JEAN DE DINTEVILLE AND GEORGE DE
SELVE (1533) 36
Reproduced in colour.
National Gallery, London.
viii HANS HOLBEIN THE YOUNGER
FACING PAGS
10. PORTRAIT OF A MUSICIAN 52
Reproduced by kind permission of Sir John Ramsden, Bt.
Bulstrode Park, Bucks.
11. ROBERT CHESEMAN (1533) 54
Reproduced in colour.
Royal Picture Gallery, Mauritshuis, The Hague.
12. CHARLES DE SOLIER, SIEUR DE MORETTE 63
Royal Picture Gallery, Dresden.
13. TITLE-PAGE OF CO VERD ALE'S BIBLE (1535) 76
Woodcut.
From a copy in the British Museum.
14. SIR THOMAS WYAT 79
Drawing in black and coloured chalks. Reproduced by gracious permission of
H.M. the King.
Windsor Castle.
15. PORTRAIT OF A LADY, PROBABLY MARGARET WYAT, LADY LEE 82
Until recently in the collection of Major Charles Palmer, by whose kind per-
mission it is reproduced.
Mr. Benjamin Altman's Collection, New York.
16. SIR RICHARD SOUTHWELL (1536) . 84
Reproduced in colour.
Uffizi Gallery, Florence.
17. SIR NICHOLAS CAREW 87
Drawing in black and coloured chalks. Reproduced in colour.
Public Picture Collection, Basel.
18. HENRY VII AND HENRY VIII 97
Cartoon for the Whitehall wall-painting. Reproduced by kind permission
of the Duke of Devonshire, G.C.V.O.
Chatsworth, formerly at Hardwick Hall
19. HENRY VIII 102
National Gallery, Rome.
20. QUEEN JANE SEYMOUR 11 1
Reproduced in colour.
Imperial Gallery, Vienna.
21. THE DUCHESS OF MILAN (1538) 128
Reproduced in colour.
National Gallery, London.
22. EDWARD VI WHEN PRINCE OF WALES (1538-9) . . . .165
Reproduced by kind permission of the Earl of Yarborough.
Earl of Yarborough' s Collection.
23. EDWARD VI, WHEN PRINCE OF WALES 167
Drawing in black and coloured chalks. Reproduced by gracious permission
of H.M. the King.
Windsor Castle.
ILLUSTRATIONS ix
FACING PAGE
24. QUEEN ANNE OF CLEVES (1539) 181
Reproduced in colour.
Louvre, Paris.
25. THOMAS HOWARD, DUKE OF NORFOLK . . . . .197
Reproduced in colour, by gracious permission of H.M. the King.
Windsor Castle.
26. HENRY HOWARD, EARL OF SURREY 200
Drawing in black and coloured chalks. Reproduced by gracious permission
of H.M. the King.
Windsor Castle.
27. PORTRAIT OF AN UNKNOWN YOUNG MAN (1541) . . . .202
Reproduced in colour.
Imperial Gallery, Vienna.
28. PORTRAIT OF AN UNKNOWN YOUNG MAN WITH A FALCON (1542) 203
Reproduced in colour.
Royal Picture Gallery, Mauritshuis, The Hague.
29. (1) PORTRAIT OF AN UNKNOWN ELDERLY MAN . . . .,
Kaiser Friedrich Museum, Berlin. I c
(2) PORTRAIT OF AN UNKNOWN ENGLISH LADY . . . J
Imperial Gallery, Vienna.
30. DR. JOHN CHAMBER 208
Imperial Gallery, Vienna.
31. MINIATURES 222
(1) Henry Brandon. (3) Lady Audley.
(2) Charles Brandon. (4) Queen Catherine Howard.
Reproduced by gracious permission of H.M. the King.
Windsor Castle.
(5) Portrait of an Unknown Youth.
Reproduced by gracious permission of H.M. the Queen of Holland.
Royal Palace, The Hague.
(6) Thomas Cromwell, Earl of Essex.
Reproduced by kind permission of the late Mr. J. Pierpont Morgan.
New York.
32. STUDY FOR THE PORTRAIT OF A FAMILY GROUP . . .226
Indian ink wash drawing with brush outline.
British Museum.
33. MINIATURES 228
(1) Mrs. Robert Pemberton.
Reproduced by kind permission of the late Mr. J. Pierpont Morgan.
New York.
(2) Hans Holbein : Self-Portrait.
Wallace Collection.
x HANS HOLBEIN THE YOUNGER
FACING PAGE
34. (1) UNKNOWN ENGLISHMAN. (2) WILLIAM PARR, MARQUIS OF
NORTHAMPTON 256
Drawings in black and coloured chalks. Reproduced by gracious permission
of H.M. the King.
Windsor Castle.
35. THOMAS, LORD VAUX 257
Drawing in black and coloured chalks. Reproduced by gracious permission of
H.M. the King.
Windsor Castle.
36. (1) UNKNOWN MAN, SAID TO BE JEAN DE DINTEVILLE (2) MARY
ZOUCH 257
Drawings in black and coloured chalks. Reproduced by gracious permission of
H.M. the King.
Windsor Castle.
17. (1) LADY AUDLEY. (2) LADY MEUTAS 257
Drawings in black and coloured chalks. Reproduced by gracious permission of
H.M. the King.
Windsor Castle.
38. "THE LADY HENEGHAM " : POSSIBLY MARGARET ROPER . . 258
Drawing in black and coloured chalks. Reproduced by gracious permission
of H.M. the King.
Windsor Castle.
39. PORTRAIT OF AN UNKNOWN YOUNG MAN 259
Drawing in black and coloured chalks. Reproduced in colour.
Public Picture Collection, Basel.
40. THE QUEEN OF SHEBA'S VISIT TO KING SOLOMON . . .262
Silver-point drawing washed with colour. Reproduced by gracious permission
of H.M. the King.
Windsor Castle.
41. QUEEN JANE SEYMOUR'S CUP 274
Pen and ink drawing.
British Museum.
42. HANS OF ANTWERP'S CUP . 275
Pen and wash drawing.
Public Picture Collection, Basel.
43. SIR ANTHONY DENNY'S CLOCK 276
Indian ink wash and pen drawing.
British Museum.
44. DESIGN FOR A DAGGER HILT AND SHEATH 277
Pen and ink and Indian ink wash drawing.
British Museum.
ILLUSTRATIONS xi
FACING PAGE
45. (i) DAGGER SHEATH WITH FOLIATED ORNAMENT (DATED 1529).
(2) UPRIGHT BAND OF ORNAMENT : PIPER AND BEARS. (3)
DAGGER SHEATH WITH THE " JUDGMENT OF PARIS " . .278
Public Picture Collection, Basel.
46. (1) DAGGER SHEATH WITH A DANCE OF DEATH. (2) DAGGER
SHEATH WITH A ROMAN TRIUMPH. (3) DAGGER SHEATH
WITH " JOSHUA'S PASSAGE OF THE JORDAN " . . . .278
Public Picture Collection, Basel.
47. FIVE DESIGNS FOR DAGGER HILTS 278
British Museum.
48. EIGHT DESIGNS FOR PENDANTS AND ORNAMENTS . . .279
British Museum.
49. NINE DESIGNS FOR PENDANTS 279
British Museum.
50. NINE DESIGNS FOR MEDALLIONS OR ENSEIGNES . . . .280
British Museum.
51. (1) BAND OF ORNAMENT: CHILDREN AT PLAY. (2) BAND OF
ORNAMENT: CHILDREN AND DOGS HUNTING A HARE . 281
Public Picture Collection, Basel.
(3) DESIGN FOR A COLLAR, WITH NYMPHS AND SATYRS. (4)
DESIGN FOR A CHAIN. (5) DESIGN FOR A BRACELET OR
COLLAR WITH DIAMONDS AND PEARLS.
British Museum.
52. DESIGNS FOR ARABESQUE ENAMEL ORNAMENTS . . . .281
British Museum.
53. DESIGNS FOR MEDALLIONS, &c 285
(1) Hagar and Ishmael. (4) Diana and Action.
(2) The Last Judgment. (5) Cupid and Bees.
(3) Icarus. (6) " I await the Hour."
(7) The Rape of Helen.
Reproduced by kind permission of the Duke of Devonshire.
Chatsworth.
54. HENRY VIII GRANTING A CHARTER TO THE BARBER-SURGEONS'
COMPANY 288
Reproduced by kind permission of the Barber-Surgeons' Company.
Barber-Surgeons' Hall, London.
Hans Holbein the Younger
CHAPTER XVI
THE MERCHANTS OF THE STEELYARD
The German Steelyard in London, and Holbein's connection with its members — Portraits of Georg
Gisze— Hans of Antwerp — The Wedighs — Derich Born — Derich Tybis— Cyriacus Fallen —
Derich Berck— " The Triumph of Riches"— "The Triumph of Poverty "—Triumphal arch
designed by Holbein for the Steelyard on the occasion of Queen Anne Boleyn's coronation.
| HERE is no record to show in what part of London
Holbein took up his residence upon his return to Eng-
land. Possibly he may have settled in the house in
the parish of St. Andrew Undershaft, in Aldgate Ward,
in which he was residing in 1541 ; or there may be some
truth in the tradition recorded by Walpole x that he
lived for a time in a house on London Bridge, in close proximity to
the Steelyard, where he was much occupied in painting various members
of that colony of German merchants for the next year or two. There
is nothing to indicate that he returned to Chelsea, for the purpose of
finishing the More family picture, or that he received further commis-
sions from Sir Thomas and his immediate circle of friends. During
Holbein's absence in Basel More had been made Lord Chancellor, but
had resigned that office on May 16th, 1532, which was about the time
of Holbein's return to London. More, a generous man, had not
amassed wealth in the public service, and on relinquishing office and
the salary it carried with it, retired into private life on a modest in-
come, not sufficient to permit a lavish patronage of art. Two other
members of the More circle, and good friends to Holbein, Sir Henry
Guldeford, and Archbishop Warham, died in the same year, the former
in May and the latter in August, and thus the painter lost two other
patrons immediately after his return. A certain John Wolf was the
1 Anecdotes, &c, ed. Wornum, 1888, vol. i. 86, note.
VOL. II. A
2 THE MERCHANTS OF THE STEELYARD
painter employed to provide the escutcheons, banners, and other
decorations for Guldeford's funeral.1
Whether Holbein's appearance amid entirely new surroundings
was due to these events is doubtful. It is natural to suppose that he
would turn instinctively towards a society of fellow-countrymen,
speaking the same language, and of similar habits and modes of
thought, with whom he would feel most at home, men of com-
fortable fortunes, well able to afford the luxury of sitting for their
portraits, and with the means also of finding him other remunerative
work.
These merchants of the Hanseatic League in London formed a
rich corporation of considerable numerical strength, whose beginnings
went back to the very early days of English history. Some of its most
valuable privileges and trading monopolies were granted it by Richard
I and Edward III, in return for moneys lent, monopolies which
hampered English trade for centuries afterwards. This colony had
always occupied a part of the river bank above London Bridge, on the
site of what is now the South-Eastern Railway Station in Cannon
Street.2 Their buildings were surrounded by a turreted wall, which
stretched from the river northward to Thames Street, and from All-
hallows Street on the east to Cosin (Cousins) Lane on the west, their
property extending towards Dowgate. Entrance in the principal
front in Thames Street was by three fortified gateways, above which
the Imperial double-eagle floated, and within stood their old stone
Guildhall, with a pleasant garden planted on one side with fruit trees
and vines after the fashion of their fatherland, and, to the west of the
main gate, vaults where Rhenish wine and other foreign delicacies
were sold, a favourite place of resort for English citizens as well as
foreigners. It has been generally supposed that its name, the Steel-
yard, or Stahlhof, arose from the great weighing-machine or steelyard
» C.L.P., v. 1064.
' The buildings of the Steelyard were finally pulled down in the autumn of 1863, and the
ground was excavated immediately afterwards. The Cannon Street Railway Station covers
approximately the whole site of the Steelyard except the strip on the north front cut off for the
widening of Upper Thames Street. See Philip Norman, " Notes on the Later History of the
Steelyard in London," Archceologia, vol. Ixi. pt. ii. (1909), pp. 389-426 ; Wykeham Archer, Once a
Week, vol. v. (1861) ; J. E. Price, Transactions of the London and Middlesex Archceological
Society, vol. iii. 67 (1870). See also for the whole history of the Steelyard, Lappenberg,
Urkundliche Geschichte des Hansischen Stahlhof es zu London, Hamburg, 1851.
THEIR CONSTITUTION AND PRIVILEGES 3
which stood within its entrance.1 The Guildhall and Council Chamber
were situated in the western corner on Thames Street, and several
passages, including Windgoose Alley, ran from that street to the river,
giving access to the shops and small houses, the latter usually consist-
ing of a bedroom and sitting-room for the merchant, and, at the back,
stores and apartments for clerks and workmen. The corporation was
a close one, and the rules by which its members were bound were as
strict as those of a monastery. Within its precincts women were
strictly forbidden; all married members had to live outside the walls,
nor were guests allowed to lodge there unless also of the Hanseatic
community. Each night at nine the gates were shut, and the Steel-
yard was then like a small walled German town in the midst of London.
The breaking of its laws, or the practice of any bad habits, was followed
by severe punishment. Its members, too, were obliged to take their
share in the wider civic life of London. The Steelyard was repre-
sented by an Alderman and a Deputy, and, among other duties, each
merchant had his allotted post in case of war, and was obliged to keep
the necessary arms ready for the defence of the city.
Their privileges were so great that they had always been unpopular,
and this dislike grew in strength until the reign of Henry VIII, when
the first attempts were made to break up their monopolies, which
ended, some sixty years later, in their complete overthrow. When
Holbein first came among them, however, they still occupied the fore-
most place in the commercial life of London, and were an exceedingly
rich and prosperous community. They served the King and Court in
more ways than one, for they were constantly made use of for the
despatch of letters abroad and for the translation of communications
received from foreign countries. They made arrangements with their
agents in Europe for the payment of the diets and other expenses of
Henry's ambassadors and special messengers, and much confidential
continental news was received through their business houses. Books,
prints, and various rare and artistic objects were also forwarded to
them for delivery to the English court. Thomas Cromwell, in par-
ticular, made much use of them in the sending and receiving of
foreign correspondence. They also entertained all important visitors,
1 Dr. Norman, however, considers that it has nothing to do with a weighing-machine, but that
it is an Anglicised form of the German " Stahlhof." See his paper in Archaologia, quoted on
the preceding page.
4 THE MERCHANTS OF THE STEELYARD
artists, craftsmen, and others of their own countrymen who visited
England.
Holbein, however, does not appear to have come into contact with
them during his first visit to England; no portrait, at least, of a Steel-
yard merchant of that date has survived, though he painted Niklaus
Kratzer, who must have known many of them intimately. Possibly
his introduction to them in 1532 was due to his friendship with the
German astronomer. In any case, between 1532 and 1536, he painted
a considerable number of them, chiefly small half-length portraits, in
which the sitter is shown in his own room or office, dressed in sober
black, with the accessories of his work scattered round him, and with
letters in front of him containing his name and his address at the
Steelyard. These portraits were most probably painted for presenta-
tion by the sitters to the League of which they were fading members,
to be hung on the walls of the Council Chamber of their Guildhall,
rather than for the purpose of sending them to family relations abroad.
This would account for the presence of several of them in England to-
day, for when the Guild was finally broken up in 1598 and much of
its property scattered far and wide, some of the portraits remained in
this country while others found their way abroad.
The portrait of Georg Gisze, now in the Berlin Museum (No. 586)
(PL i),1 was one of the first, if not the first, of these likenesses of
Steelyard merchants to be painted by Holbein. This portrait is not
only the most elaborate work of the whole series, but the sitter was
also one of the most important members of the League then in London.
His name is spelt in more than one way on the picture itself, and other
versions of it are to be found in the English State Papers. In the
letter from his brother, which he holds in his hand, he is addressed,
according to the Berlin Catalogue, as J erg Gisze. The full address
is " Dem erszamen Jergen Gisze to lunden in engelant mynen broder
to handen." Below the motto on the wall, beneath the shelf on
the left — " Nulla sine merore voluptas " — in the sitter's own hand-
writing, is the signature G. Gisze or Gyze. It has been read both
ways, for the second letter may be taken either as an i followed by
a long s, or, as two connected strokes representing the letter y. On
other letters from foreign correspondents, tucked behind the wall-rails
on the right, his name is also spelt Gisse and Ghisse, while in the
1 Woltmann, 115. Reproduced by Davies, p. 140; Knackfuss, fig. 117 ; Berlin Catg., p. 176 ;
Ganz, Holbein, p. 95 ; and in colour by the Medici Society.
I '
Vol. II , Plate i
GEORG GISZE
Kaiser Friedrich Museum, Berlin
* rm
V
K
*"*-
***** dr'
IE ST. LOUIS MUSEUM'S NEW HOLBEIN
1
\dy Gudeford" (see note on page 24) is the companion panel
jpasuring 34V2 by 28 inches) to the "Sir Harry Gudeford" in
Windsor Castle. To balance the great bulk of the husband's figure,
Holbein introduced the Renaissance column in this picture, of which
H. W. Janson of Washington University says that in Holbein's mind
must have been the design of Leonardo's "Mono Lisa."
VERNISSAGE
NO ONE who cares about American art can see the Whitney
Museum pass without many sighs and the shedding of
heartfelt tears. The Metropolitan's espousal of the Eighth Street
institution is one of those weddings where the bride's mother
and all her friends cannot remain dry-eyed for all their convic-
tion that she is marrying a distinguished and secure future.
It all means the old pal is gone, that things will never be the
same up in the splendor of Fifth Avenue as they were down
in the Village. That isn't hard to understand, and probably the
fact of a wartime marriage of convenience makes it no easier.
But it is, after all, sheerly a question of survival. You cannot
fairly counter the Whitney-Metropolitan merger with the alter-
native of continuing the status quo, without also facing the
possibility of the Whitney's discontinuance altogether. How-
ever munificent Mrs. Whitney's two-and-a-half-million dollar
endowment looks on the surface today, anyone concerned with
the endurance of endowed institutions can tell vou that the
future is much too precarious to rely on such capital for the
permanent administration of an establishment like that on
Eighth Street, in the face of diminished interest rates and
rising costs.
In view of this, what else could the Whitney trustees do?
True, there has been some talk since the announcement of the
coalition that the Whitney might have made a public appeal
for funds, just as the Philharmonic and the Metropolitan Opera
did a few years ago. Aside from the dubious prospects of such
a campaign in competition with War charities, the strongest
objection to this idea is that it would turn the Whitney from
a private into a public institution. And thereby nearly all the
fruits of what we have known on Eighth Street would be lost.
For if there is sadness at the passing, it is only because the
Whitney was to most artists and art lovers a great deal more
than a museum, and much of what most museums are not.
The Whitney built its building, invited its exhibitions, bought
its pictures and sculptures, published its catalogues, all as a
private contribution to the American art which was its sole
interest. It owed no set obligations to anvone except those it
itself felt toward the artists and the public. You could reproach
its taste, never its purpose. This is the sort of thing some people
call patronage, others even benevolent paternalism. However
you want to name it, the Whitney's was an outstanding, indeed
a unique, influence in American art. To it hosts of artists, many
of them progressives who might otherwise never have had a
chance, owe their fame as well as constant financial support.
Unhappy as it is to see this go, it is also the going of an era.
The epoch of Mrs. Whitney's large scale patronage of living
artists is ending, just as much as that of the collections— like
those of Mellon, Kress, Widener, and Bache— which brought
to America the great treasures of the art of the past. What the
new era of collective administration of the arts will bring is
impossible now to say; we can only hope. But since that new
era is already on the way, it seems to me that the Whitnev
trustees have acted wisely and in the spirit of Mrs. Whitney's
intentions. The project of a post- War Whitney Wing at the
Metropolitan seems, in fact, the ideal destiny for the work Mrs.
Whitney began on Eighth Street several decades ago.
I say this because it holds out the prospect of becoming
what has ever been a vital need in our national art life— namely,
an American Luxembourg. New York, the ideal site for an
American counterpart of the Paris institution where modern
art hangs for thirty or forty years until it can be sifted and the
works that pass the test then brought to the Louvre, has often
been promised a Luxembourg, but never got one. The last time
was when the Museum of Modern Art was founded in 1929,
but it again decided to become a colossus on its own rather than
an experimental feeder to the Metropolitan.
Now the Metropolitan will have the chance to perform both
functions within its own walls. The Whitney Wing can become
a permanent experimental museum for contemporary art, in
which the Metropolitan can also solve the plaguing problems
of purchases from its own Hearn Fund by hanging there all its3
more recent pictures until taste has decided whether they are to
dwell forever with the classics elsewhere in the building. If and
when that happens, it can surely be said that it will be the ideal
fruition of the labors the Whitney Museum began and so long
carried on. a. m. f.'
(Continued from page 6)
cent objects of decorative art as-
sembled over many years by Mr.
Bache were presented to the State
of New York in 1937, but, due to
war-time conditions, have been vis-
ible to the public only on a limited
schedule. The loan to the Metro-
politan will provide a much greater
opportunity for their enjoyment.
Appointments
RS. DAVID M. LEVY was
elected on January 14 to the
office of Treasurer of the Museum
of Modern Art succeeding David
H. McAlpin, now with the Armed
Forces. Owner of a noted collection
of modern paintings, Trustee of
The Art Foundation, Inc., and of
the New School for Social Re-
search, Mrs. Levy, a daughter of
the late Julius Rosenwald, has been
a Museum Trustee since 1040.
M
i
-
James Thrall Soby, author of
several books on modern artists,
Museum of Modern Art Trustee
and Director of its Armed Services
Program, has been appointed the
Museum's Assistant Director.
Obituaries
WHITNEY WARREN, architect
of the celebrated Louvain Li-
brary which replaced the one de-
stroyed by the Germans in World
War I, and the far-sighted designer
of Grand Central terminal in New
York City, died here last week at
the age of seventy-eight. Architect
also of the Ambassador, the Ritz,
the Biltmore, the Commodore, and
the Vanderbilt Hotels as well as of
many other New York landmarks,
Mr. Warren cherished his Louvain
creation above all others, felt strong-
ly that it should bear the inscrip-
tion "Furore Teutonica Dirura:
Dono Americano Restituta" (De-
stroyed by Germany Fury; Restored
by American Generosity) which
never was carved upon it. An in-
dividualist in dress and a leader in
New York and Parisian social cir-
cles, Mr. Warren devoted much
time to architectural education, or-
ganized the New York Society of
Beaux-Arts Architects, presided over
its colorful annual balls. He also
served as Chairman of the executive
committee of the Fontainebleau
School of Fine Arts which he had
helped to dedicate in 1923 and to
which he had made contributions.
Edward Bruce, chief of the Sec-
tion of Fine Arts of the Public
Buildings Administration at Wash-
ington, D. C, died, at the age
of sixty-three on January 27 at Hol-
lywood, Florida. A lawyer who gave
up his practice to follow a life-
long hobby of painting, Mr. Bruce
worked for some years in Italy, had
his first New York show in 1929.
His work received many prizes,
commanded high prices, and is
represented in leading U. S. Mu-
seums. After serving as Washington
lobbyist for Philippine independence
and as silver expert at the London
Economic Conference, he was made
chief of the Section of Fine Artsl
In that capacity and as a close
friend of President Roosevelt, he
had a large share in the Federal art
programs
G. L. Winthrop Dies
WITH the death two weeks ago
of Grenville Lindall Winthrop
at the age of seventy-eight, America
has lost one of her most catholic
and discerning art collectors, a nota-
ble figure but one whose many pub-
lic benefactions were rarely publi-
cized. Mr. Winthrop planned that
f Continued on page 24)
L
PORTRAIT OF GEORG GISZE 5
distich inscribed on a cartellino fastened to the wall over his head
it appears in its Latinised form of Gysen. This distich, which also
contains the date and the sitter's age, runs as follows : —
" Aicrvxibv 1 Jmagine Georgii Gysenii
Jsta refert vultus, qua cernis Jmago Georgi
Sic oculos viuos, sic habet ille Genas.
Anno setatis suae xxxiiij
Anno dom 1532."
In days when spelling was largely phonetic it is not surprising to
find proper names spelt in a variety of ways, and the Hanse merchants,
in particular, received letters from correspondents in all parts of the
world, speaking a variety of languages and dialects. According to
the Berlin Catalogue, Georg Gisze was born on 2nd April 1497, so that
he was of Holbein's own age, and died in February 1562, and was a
member of a leading Danzig family. Woltmann regarded him as a
Swiss, and states that there was a family called Gysin settled in the
neighbourhood of Basel, and that the name is still to be seen on numer-
ous sign-boards in the adjacent small town of Liestall.1 Miss Hervey,
on the other hand, suggests that, however the name may be spelt, it
was probably a variation of that of Gueiss, which was one of the most
distinguished in the annals of the Steelyard.2 The family belonged
to Cologne, and Albert von Gueiss was a representative of the Steel-
yard at the Conference held at Bruges in 1520. In at least one entry
in the Steelyard records this name is spelt Gisse. She suggests, there-
fore, that Georg Gisze may have been a younger brother or a son of
this Albert von Gueiss. In his book on Holbein's " Ambassadors "
picture, Mr. W. F. Dickes, who, in his anxiety to prove that Holbein
was not in England in 1532, conveniently ignores the evidence of the
letter which Gisze holds in his hand, addressed to him " in London,"
conclusive proof that the portrait was produced in this country, is of
opinion that it was painted in Basel.3 Little is known of its history
since it left the walls of the Guildhall in Thames Street. It was in the
Orleans Collection in 1727, and was purchased at the sale of that
collection by Christian von Mechel.4 Various attempts to induce the
1 Woltmann, i. 366. z Holbein's Ambassadors, p. 240.
3 Holbein's "Ambassadors" Unriddled, p. 2.
* See Ganz, Holbein, p. 240. It was brought to England with the Orleans pictures in 1792,
and in the Sale Catalogue was described as "Portrait of Gysset." It fetched 60 guineas. See
Waagen, Treasures, &c, vol. ii. p. 500.
6 THE MERCHANTS OF THE STEELYARD
Basel Library to -buy it proved unavailing. It was afterwards for a
time in Basel, and in 1821 was added to the Solly Collection, passing
later into the Berlin Gallery.
The first time the name of Georg Gisze occurs in the English State
Papers is in 1522,1 when he was twenty-four years of age. The paper
is an English translation of a protection, dated Lyon, 26 June 1522,
granted by Francis I to Gerrard van Werden, George Hasse, Henry
Melman, Geo. Gyse, Geo. Strowse, Elard Smetyng, Hans Colynbrowgh,
and Perpoynt Deovanter, merchants of the Hanse, during the war
between him, the Emperor, and England. They are forbidden to deal
in wheat, salt, " ollrons," harness, and weapons of war. Deovanter
appears to have been one of the leading merchants. At this period
he went as a representative of the Steelyard on several missions to
Francis for the purpose of the recovery of goods taken from their ships
by the Captain of Boulogne. During his absence he gave power of
attorney in a suit of his against George Byrom, of Salford, to several
friends and fellow-merchants, among them " George Guyse," and,
it is interesting to note, " Th. Crumwell, of London, gent." 2
The next reference to Gisze is at Michaelmas, 1533, in a letter from
Thomas Houth to the Earl of Kildare in Ireland,3 respecting the death
of a certain John Wolff, in which, speaking of some bills, he says, —
" I ascertained at the Steelyard that the handwriting was his, by the
evidence of Geo. Gyes, the alderman's deputy, and others." This
letter proves that Gisze held an important position in the Steelyard,
as Deputy to the Alderman, who was probably Barthold Beckman, of
Hamburg.4 Possibly his appointment to this position occasioned the
painting of his portrait.
The portrait is life-size, and half-length, the sitter being turned
to the right, the face towards the spectator, and the eyes turned slightly
to the left. He is wearing a flat black cap over his fair hair, which is
cut straight across the forehead and covers the ears; and a dress of
rose-coloured silk with a sleeveless over-coat of black, and a fine white
linen shirt. He is seated behind a table covered with a cloth of Eastern
design, and is in the act of opening his brother's letter. By him, on
the table, stands a tall vase of Venetian glass with twisted handles,
1 C.L.P., vol. iii. pt. ii. 2350. a C.L.P., vol. iii. pt. ii. 2446, 2447, 2754. 3 C.L.P., vol. vi. 1 170.
* Lappenberg, Urkundliche Geschichte des Hansischen Stahlhofes zu London, p. 157 ; Miss
Hervey, Holbein's Ambassadors, p. 239.
PORTRAIT OF GEORG GISZE 7
filled with carnations, and scattered in front of him are various objects
used in his business, a seal, inkstand, scissors, quill pens, a leather case
with metal bands and clasps, and a box containing money. From the
shelves on the walls hang scales for weighing gold, a seal attached to
a long chain, and a metal ball for string, with a damascened design and
a band with the words " heer en " repeated round it.1 Books
and a box are upon the shelves, and tucked within the narrow wooden
bars which run round the walls are parchment tags for seals and several
letters with addresses in High German. On these occur the dates
1528 and 1 53 1, while the names of the correspondents with which they
are endorsed can be more or less clearly discerned, as well as the word
" England." Woltmann reads the names as " Tomas Bandz,"
" Jergen ze Basel," and " Hans Stolten." This last letter is marked
with the writer's particular device, which also occurs on a second letter,
and is very similar to the device on the letter in the picture of Derich
Tybis in Vienna. The walls of his room are painted in greyish green,
the paint shown as rubbed and discoloured here and there, and along
the bars and shelves, which have been worn by constant use.
The painting of the numerous details is wonderful in its accurate
realism, showing the closest observation and an evident delight in
their perfect rendering. It has been suggested, as the picture contains
many more accessories than in his other portraits of members of the
Steelyard, that Holbein took particular pains with it as the first of a
possible series, and that it was a kind of " show-piece," in order that
his clients might see of what he was capable. This superb portrait,
which is in a better state of preservation than most of Holbein's exist-
ing works, is finer in its clear, luminous colour and more delicate in
its drawing than any other of his pictures of this period. It is almost
Flemish in the minuteness and care of its finish and in its cool, clear
tones. All the objects of still-life which surround the sitter, which
are placed about him as naturally as though the artist had come upon
him suddenly when engaged upon his daily business, and had there
and then painted him, without arranging or posing, whether of silk,
or linen, or gold, or steel, or glass, are painted with a fidelity to nature
never excelled by the Dutchmen or Flemings of the following century,
1 In the inventory of the goods of John Wolff, attached to the letter mentioned above, a similar
ball is included — " a round ball gilt for sealing thread to hang out of to seal withal." C.L.P.,
vol. vi. 1 170.
8 THE MERCHANTS OF THE STEELYARD
who devoted their whole career to the rendering of still-life. In
Holbein's portrait, however, all these carefully-wrought minor details,
beautiful in themselves as they may be, in no way force themselves
on the attention to the detriment of the portrait itself, which stands
out as a vivid representation of the sitter's personality, in which the
essentials of his character have been seen with an unerring eye, and
set down upon the panel with an unerring hand. We get here the
young German merchant to the very life, precise, deliberate and orderly
in the transaction of his affairs, with strongly-marked German features,
long nose, and determined chin, a living presentment which only a
master could have produced.
Ruskin's glowing description of the picture is well known, but it
is so true and so eloquent that a sentence from it may be quoted : —
" Every accessory is perfect with a fine perfection; the carnations
in the glass by his side; the ball of gold, chased with blue enamel,
suspended on the wall; the books, the steelyard, the papers on the
table, the seal ring with its quartered bearings — all intensely there,
and there in beauty of which no one could have dreamed that even
flowers or gold were capable, far less parchment or steel. But every
change of shade is felt, every rich and rubied line of petal followed,
every subdued gleam in the soft blue of the enamel and bending of the
gold touched with a hand whose patience of regard creates rather than
paints. The jewel itself was not so precious as the rays of enduring
light which form it, beneath that errorless hand. The man himself
what he was — not more; but to all conceivable proof of sight, in all
aspect of life or thought — not less. He sits alone in his accustomed
room, his common work laid out before him; he is conscious of no
presence, assumes no dignity, bears no sudden or superficial look of
care or interest, lives only as he lived — but for ever. It is inexhaust-
ible. Every detail of it wins, retains, rewards the attention with a
continually increasing sense of wonderfulness. It is also wholly true.
So far as it reaches, it contains the absolute facts of colour, form, and
character, rendered with an unaccusable faithfulness."1
The portrait of Hans of Antwerp, in Windsor Castle (PL 2),2
1 Ruskin, " Sir Joshua and Holbein," Cornhill Magazine, March i860 ; reprinted in On the
Old Road, vol. i. pt. i. pp. 221-236.
a Woltmann, 265. Reproduced by Law, Holbein's Pictures at Windsor Castle, PI. ii. ;
Davies, p. 30 ; Knackfuss, fig. 119 ; Cust, Royal Collection 0/ Paintings, Windsor Castle, 1906,
PI. 46 ; Ganz, Holbein, p. 96.
S 3TAJ*! , II
Vol. II , Plate 2
HANS OF ANTWERP
!532
Windsor Castle
PORTRAIT OF HANS OF ANTWERP 9
belongs to the summer of the same year, 1532, and was one of the earliest
of the Steelyard series. It is in oil on panel, and has darkened with age,
and has suffered to some extent from repaintings. It represents the
half-length figure of a middle-aged man, about three-quarters the size of
life. He is turned to the right, seated at a table, upon which his elbows
rest, and he is about to cut the string of a letter with a long knife. He
has thick bushy hair and beard, brown in colour, and brown eyes, and
is wearing a dark overcoat, which may have been originally dark green
in colour, edged with a broad band of brown fur, and beneath it a brown
dress and a white shirt with the collar embroidered with black Spanish
work. On his head is a flat black cap. The table is covered with a
dark green cloth, and upon it, in front of him, are placed a pad of paper
with a quill pen resting on it, some coins and a seal engraved with the
letter W. The head, strongly lightened, stands out against a back-
ground of grey-brown wall, with a strip of darker colour on the
right-hand side of the panel. He wears a signet ring on the first
finger of his left hand, and a smaller ring on the little finger of
the right.
The letter which he holds in his hand has a superscription in
crabbed Teutonic writing, which Woltmann, after careful examina-
tion, deciphered as follows: —
" Dem ersamen -ff[a] nnsen
Von Anzverpen ../<?[.-.. .] vpn
Stallhoff zv k[anderi\."
The parts in brackets are hidden in the original by the knife, and have
been added conjecturally by him, so that the whole inscription would
run in English: "To the honourable Hans of Antwerp in London,
in the Steelyard, these to hand." The words " ersamen " and " Stall-
hoff " are distinct, but the " Anwerpen " is less clear, and only the first
letter of the Christian name is certain.
The brown under- dress the sitter is wearing certainly has some
appearance of the leather apron worn by goldsmiths which Woltmann
declared it to be;1 and this, together with the gold coins on the table,
such as goldsmiths were in the habit of exhibiting in their shops, he
regarded as additional proof that the portrait represents the goldsmith,
1 Woltmann, i. p. 368. An under-dress of similar fashion, however, is worn by nearly all
Holbein's Steelyard sitters.
io THE MERCHANTS OF THE STEELYARD
Hans of Antwerp, Holbein's close friend and one of his executors.1
There is considerable probability that this ascription is correct, though
it is by no means absolutely certain. On the paper-pad lying on the
table there is an inscription, evidently in the sitter's handwriting, giving
his age and the date. Even this inscription is not absolutely clear.
Woltmann reads it: —
"Anno dm. 1532 an. d. 26 Julii
^Etatis suae . . ."
The second " a.d.," however, is evidently wrong. Mr. Law2 reads
it as a possible " Aug." for August, and is doubtful about the word
" Julii." Both these writers fail to decipher the sitter's age, but it
appears to be " 53," or, perhaps, " 33," the latter agreeing better with
the apparent age of the sitter.
The W. on the seal affords some evidence against the portrait being
that of John of Antwerp. Woltmann calls it " the device of his trad-
ing house," and in this Mr. Law follows him. It is much more probable,
however, that it is the initial of his surname. The seal is of a similar
shape to those in the portraits of Georg Gisze and Derich Tybis. In the
former the lettering is illegible, but in the latter it is plainly " D. T."
Before Hans of Antwerp's surname was known, Woltmann's sugges-
tion was not out of place, but Mr. Lionel Cust 3 has recently discovered
it to have been Van der Gow, which does not accord with the letter on
the seal. Among the numerous references to John of Antwerp in the
State Papers and elsewhere he is never once spoken of as belonging to
the Steelyard, whereas the picture in question is in all probability a
portrait of some merchant of the Hanseatic League. More than one
German merchant of the Steelyard whose surname began with W is
mentioned in the records, such as Gerard van Werden and Ulric Wise,
while one of the leading jewellers of Henry's reign was Morgan Wolf,
though he was almost certainly a Welshman. However, until further
evidence is forthcoming, the name Hans of Antwerp must stand as
the sitter for this portrait, and it has much in its favour.
As the friend and witness and administrator of Holbein's will, the
question of the true portrait of John of Antwerp is of unusual interest.
1 It should be noted, however, that similar coins appear in the box on the table in the portrait
of Georg Gisze.
* Law, Holbeitts Pictures, &c, p. 5.
3 Burlington Magazine, vol. viii. No. xxxv. (Feb. 1906), pp. 356-60.
PORTRAIT OF HANS OF ANTWERP n
The two men appear to have been closely associated, and there is no
doubt that Holbein supplied him with designs. One such design is
well known — the drawing for a beautiful drinking-cup in the Basel
Gallery upon which is inscribed the name " Hans Von Ant. . . ."
(PL 42). * Mr. Lionel Cust conjectures that the cup given by Cromwell
to the King on New Year's Day, 1539, made by John of Antwerp, was
this identical cup; but it hardly appears probable that an object made
for such a purpose would have the maker's name placed upon it so
prominently on a broad band running round its centre. It may be
suggested that it is more likely to have been intended by the maker
for presentation to the Hanseatic League to form part of the corpora-
tion plate of that body kept in the Guildhall of the Steelyard.
John of Antwerp's name occurs frequently in the private accounts
of Thomas Cromwell for the years 1537-39, and Mr. Lionel Cust has
gathered together much interesting information about him. In a
letter from Cromwell to the Goldsmiths' Company we learn that he
had been settled in London since 15 15, but the first reference to him
Mr. Cust finds is in March 1537, in the Privy Purse Expenses of the
Princess Mary, which runs: " Item payed for goldsmythes workes for
my ladies grace to John of Andwarpe iiij li, xvij s, vij d." There is,
however, an earlier reference, and one of considerable interest, in the
State Papers, in a letter from one Richard Cavendish to the Duke of
Suffolk, dated Norton, 5th June 1534, which shows that John Van
Andwerp was at that time employed with a certain Hans De Fromont
in searching for a gold mine at Norton. " They are," says Cavendish,
" applying themselves with diligence to find the mine. Here is the
greatest diversity of earth and stones, for the stones in the gravel in
most places appear to be very gold. Many assays have been made
to prove it, but nothing found as yet, and it is believed the glitter ' is
but the scum of the metal which groweth beneath the ground.' They
have now begun to dig pits to get at the principal vein. The people
are as glad as ever he saw to further the matter, for in old evidences
the place is called Golden Norton, which proves that gold may be
found there. He sees no great forwardness as yet, but prays God they
may find some." 2
Cromwell employed him in a number of ways. In December 1537 3
1 Woltmann, no (104). See p. 275. 2 C.L.P., vol. vii. 800.
• C.L.P., vol. xiv. pt. ii. 782, ii. (p. 333).
12 THE MERCHANTS OF THE STEELYARD
he received 15s. for setting a great ruby, and 29s. for the gold in the ring.
In November 1538 1 he was at work on the cup already mentioned for
a New Year's Gift to Henry, for which purpose he received 52 oz. of
gold, and was paid nearly £20. Other work during these years con-
sisted in making a George, setting stones in rings, making chains and
trenchers, and repairing various Georges, Garters, and other jewellery
belonging to the Lord Privy Seal, full details of which will be found in
Mr. Cust's paper, the last entry being dated 15th December 1539.2
An entry in the Book of Payments of the Treasurer of the Chamber
for April 1539 3 shows him in another capacity, one, as already noted,
in which the foreign traders in England were frequently employed by
the Court. He received one shilling from the King's purse for forward-
ing letters of importance to Christopher Mount and Thomas Panell,
" his gracis servauntes and oratours in Jarmayne." 4
In 1537 Hans of Antwerp's name occurs in the return for Subsidies
of Aliens in England, among foreigners dwelling in the parish of St.
Nicholas Aeon, as " John Andwarpe, straunger, xxx li., xxx s." In a
similar list for the same parish in 1541 he is given for the first time
his proper name: " John Vander Gow, alias John Andwerp, in goodes,
xxx li., xxx s." Mr. Cust suggests that his name may have been Van
der Goes. This assessment of his goods at £30 and the tax on it
of thirty shillings was the customary rate for foreigners. Nicholas
Lyzarde, Elizabeth's serjeant-painter,5 was assessed to the same amount
— but Holbein was taxed at the higher rate of £3 on his salary of £30,
as it was the custom to tax " lands, fees and annuities " at double the
rate of goods.
In April of the same year Van der Gow was anxious to obtain the
1 C.L.P., vol. xiv. pt. ii. 782, ii. (p. 338).
2 Ibid., under various dates.
3 C.L.P., vol. xiv. pt. ii. 781 (p. 309).
4 Mr. Cust suggests that this message was addressed to Holbein. He says : " At Lady Day,
1539, he (Holbein) seems to have been still absent (in Basel), though he was back in England
before Midsummer." {Burlington Magazine, February 1906, p. 359.) This, however, is not
probable. Holbein was certainly back from Basel by December 1538, when he received ^10 for
his journey to Upper Burgundy, and he presented a portrait of Prince Edward to the King on
New Year's Day, 1539. He received no salary on Lady Day, 1539, because he had already
received a year's wages in advance at Midsummer, 1538, to date from the previous Lady Day,
and not because he was out of England. At this period messages and money were being
constantly sent to Christopher Mount, who was much abroad on missions to the German
Protestant princes, and the question of the marriage with Cleves was only one of the many
affairs, and one of the least important, upon which he was then engaged.
* See p. 309.
PORTRAIT OF HANS OF ANTWERP 13
freedom of the Goldsmiths' Company as a step towards being admitted
to the right of citizenship in London. Cromwell's letter, recommending
him to the Company " most hartely," states that he had already lived
twenty-six years in London, had married an Englishwoman, by whom
he had many children, and purposed continuing in London for the rest
of his life. This desire to become a naturalised Englishman might be
taken as some evidence that he was not a member of the Steelyard
confraternity.
From the register of the church of St. Nicholas Aeon, in Lombard
Street, where the goldsmiths have always congregated, we learn that
he had a son, Augustine Anwarpe, baptized on 27th November 1542,
and a second son, Roger, on 10th December 1547 ; that on three
successive days in September 1543 three of his servants, John
Ducheman, Jane, his maid, and Richard, were buried; that a fourth
servant was buried on the 10th August 1548 ; and that his son Augustine
was buried on 1st July 1550.1 There can be little doubt that the
three servants died of the plague which was raging in London in
September 1543. Holbein was almost certainly another of its victims,
and Mr. Cust suggests that he may very probably have caught the
infection in John Van der Gow's house.
The portrait, it is to be supposed, like Holbein's other representa-
tions of Steelyard merchants, was very possibly presented to the Guild,
and would remain hanging in their Guildhall until they were expelled
by Elizabeth in 1598. " When in 1606," says Woltmann, quoting
from Lappenberg, " under James I, the Steelyard was given back to
its possessors, the rooms were found in an evil condition, and all
movables, such as tables, seats, bedsteads, and even panels and glass
windows, were almost entirely stolen. That under such circumstances
a sparing hand watched over the pictures is scarcely to be expected." 2
The portrait of Hans of Antwerp, whatever its earlier adventures may
have been, was in the collection of Charles I, in which it was No. 29,
and is described in his catalogue as: " Done by Holbein. Item.
Upon a cracked board, the picture of a merchant, in a black cap and
habit having a letter with a knife in his hand cutting the seal thread
of the letter; a seal lying by on a green table; bought by Sir Harry
Vane and given to the King." The crack in the panel is still plainly
1 These facts are taken from Mr. Cust's paper.
* Woltmann, i. p. 381. See also Norman, Archceologia, vol. Ixi. pt. ii. p. 394.
i4 THE MERCHANTS OF THE STEELYARD
visible. It was valued by the Commonwealth Commissioners at £100,
and sold for that sum. It reappears, however, in James II's cata-
logue, No. 499: " By Holbein. A man's head, in a black cap, with a
letter and pen-knife in his hand." It is possible that it is the picture
by " Holbin " of " a Dutchman sealing a letter," which was in the Duke
of Buckingham's collection at York House in 1635, x from which it
may have passed into that of Charles I. The picture, though it has
not the richness and transparency of colour of the " Gisze," or its
extreme delicacy of execution and luxuriance of detail, is a vigorous
and life-like representation of a somewhat stolid German, painted with
the truth and sincerity which Holbein brought to everything he
touched.
The two small roundels, which hitherto have always been re-
garded as likenesses of Holbein himself, undoubtedly represent, as
Dr. Ganz has recently pointed out, the same individual as the
sitter in the Windsor picture, who, until his identity is finally
settled, it is most convenient to call Hans of Antwerp. The first
is the beautiful little painting on oak in the Salting collection,2 in
which the sitter is shown in full face, with a flat black cap, a gown
lined with light-coloured fur, and a dark under-coat or vest, cut straight
across the top, as in most of Holbein's other Steelyard portraits. The
left hand only is shown, with a ring on the first finger. On the back-
ground on either side of the head is the faded inscription " etatis
svje 35." It was possibly painted a year or two later than the
Windsor portrait, to which the likeness is very marked. If, however,
the sitter really represents Hans of Antwerp, and he was painted a
second time by Holbein about 1534-5, when 35 years of age, he must
have been only a boy when he settled in London in 15 15. The second
roundel is in Lord Spencer's collection at Althorp,3 and this, too, has
always been regarded as a portrait of Holbein by himself. Here again
the likeness to the Windsor picture is a strong one, though the opposite
side of the face is seen, as he is shown in three-quarters profile to the
spectator's left. There are slight variations in the dress, the under-
vest being lower, and disclosing more of the white shirt. Some critics
1 See Randall Davies, " Inventory of the Duke of Buckingham's Pictures," &c, Burlington
Magazine, March 1907, p. 382.
2 Exhibited Burlington Fine Arts Club, 1909, Case D, No. i,and reproduced in the Catalogue,
PI. xxxiv. ; also by Ganz, Holbein, p. 1 14.
3 Reproduced by Ganz, Holbein, p. 226.
PORTRAITS OF TWO OF THE WEDIGHS 15
regard it as a genuine work by Holbein, but Dr. Ganz places it among
the doubtful and wrongly-attributed pictures. He suggests that it
is probably one of the two roundels considered to be self-portraits by
Holbein which C. van Mander saw in Amsterdam in 1604, and was
engraved by A. Stock as such in 1612 and published by H. Hondius.
There is a replica of it in the Provinzial Museum in Hanover.1 All
three works evidently represent the same man, and at about the same
age.
In the same year, 1532, he painted another goldsmith, Hans von
Zurich, but the picture has disappeared, and is now only known from
the engraving Hollar made of it in 1647, when it was in the Arundel
collection. In the engraving he is shown at half-length, full-face,
the body turned slightly to the left, and is a thin man, with a pleasant
expression. It is inscribed on the top: " Hans von Ziirch, Goltshmidt.
Hans Holbein, 1532," and below, " W. Hollar fecit, 1647, ex collectione
Arundeliana," and has a dedication by the publisher, H. Vander Borcht,
to Matthaus Merian.2 The date indicates that Hans von Zurich must
have been living in London at that time, though his name does not
occur in the State Papers.
One other portrait of a German merchant by Holbein was painted
in the year 1532.3 It is in the collection of Count von Schonborn in
Vienna, and is one of a pair of portraits of brothers or near relations,
members of the Wedigh family of Cologne.4 They hung together until
1865, in which year the finer one of the two, dated 1533, was acquired
by Herr B. Suermondt, of Aix-la-Chapelle, and is now in the Berlin
Gallery, having been purchased in 1874, together with another fine
portrait by Holbein of an unknown young man, from the Suermondt
collection. The close relationship of the two sitters is proved by the
exactly similar coat of arms on the enamelled ring each one is wearing.
In the first edition of his book Woltmann gave it as his opinion that
they were Englishmen, but afterwards came to the conclusion that
both portraits represented German Steelyard merchants. The belief
that they were Englishmen was afterwards strengthened by a com-
munication to the Berlin authorities from Privy- Councillor Dielitz, who,
from the coat of arms on the rings, held that the pictures represented
1 See Ganz, Holbein, p. 253.
2 Reproduced by Ganz, Holbein, p. 197 (i.). Parthey, No. 141 1.
3 Woltmann, 262. Reproduced by Knackfuss, fig. 118 ; Ganz, Holbein, p. 97.
4 Both portraits are mentioned in an inventory of 1746.
16 THE MERCHANTS OF THE STEELYARD
two members of the English family of Trelawney. This ascription,
however, has been proved to be wrong, and it may be pointed out
that the motto inscribed on the paper projecting from the book in
the Vienna portrait, — " Veritas odium parit " (" Truth brings hatred "),
is not the present motto of the Trelawney family. On the side of the
same book, painted on the edges of the leaves, are the letters "her.
w i r>.," and more recent research has established the fact that the
two men were members of the Wedigh family. Members of this patrician
family of Cologne had been connected with the London Steelyard
since 1480. In this connection it is interesting to note that the seal
in the so-called " Hans of Antwerp " picture is engraved with the
letter " W," which suggests some possibility that he, too, may have
been a Wedigh.
The 1532 picture in the Schonborn collection is a small half-length.
The subject, who is seated at the back of a table, is turned to the right,
with head almost full front and looking at the spectator. His right
arm rests on the table, and he holds his gloves in his left hand. His
hair, cut straight across his forehead, covers his ears, and he is clean-
shaven. He is wearing the usual dark overcoat with deep fur collar,
and an inner collar or lining of lighter fur, opened sufficiently to show
a part of his embroidered underdress, the sleeves of which are of watered
or patterned silk, and a white pleated shirt gathered round the neck
in a small frill. The customary flat black cap is on his head. On the
table to the left is a leather-bound book with two clasps, with the
artist's initials on the cover, and a piece of paper projecting from
between the leaves on which is written the Latin motto already quoted.
On the plain blue background is inscribed on either side of the head,
"anno. 1532." and " ^TATis.sViE. 29." It is a sympathetic and
simple rendering of a young man of serious expression, in which both
the beardless face, of a somewhat reddish complexion, and the two
hands are very finely painted. Woltmann conjectured that the Latin
motto indicated that the book on the table might be one of those writ-
ings which the German reformers were at that time busily engaged
in smuggling into England, the secret dissemination of which neither
Wolsey or More could stay, in spite of the drastic methods they em-
ployed to stamp it out. Although possessing many privileges, the men
of the Steelyard were by no means free from persecutions of this nature.
The companion picture, in the Berlin Gallery (No. 586B) (PL 3),
PORTRAIT OF HERMANN WEDIGH 17
represents Hermann Hillebrandt Wedigh.1 Like that of his brother, it is
a small half-length. He stands directly facing the spectator, the left
hand holding his buff-coloured gloves, and the right half hidden by the
heavy dark-brown cloak, with black velvet collar and velvet at the
wrists, the folds of which are finely arranged and painted. This cloak
lacks the customary fur collar. The white shirt, partly open and showing
the bare chest beneath, is tied in the front by long strings passed
through a white button, and the embroidered collar is almost hidden
by his beard. A flat black cap is on his head, of the type worn by all
the Steelyard merchants in Holbein's portraits. The hair, beard, and
long moustache are fair, the separate hairs being indicated with almost
microscopic care. The eyes are brown, the left one being decidedly
smaller than the right, and there is a corresponding difference in the
development of the two sides of the face. There are no accessories
of any kind, and upon the plain blue background, on either side of
the head, is inscribed, in gold letters: "anno. 1533." and " .etatis
sViE. 39." The gold ring is enamelled in red, white and black, and
in the circle round the coat of arms there are some letters now unde-
cipherable. This is one of the finest and most sympathetic portraits
ever painted by Holbein. The face, in spite of its slight irregularity,
is one of great charm and much sweetness of expression. The draw-
ing of the hands and mouth is particularly fine.2
Three other portraits of Steelyard merchants bear the date 1533 :
Derich Born at Windsor, Derich Tybis at Vienna, and Cyriacus Fallen
1 Woltmann, 116. Reproduced by Dickes, p. 79 ; Knackfuss, fig. 121 ; Ganz, Holbein, p, 98 ;
and in colour in Early German Painters, folio v.
2 Mr. Dickes, who does not hesitate to suggest that a date has been tampered with if it suits
his argument to do so, regards this picture as " an unmistakable portrait of the second person "
in the " Ambassadors " picture, such person being, in his opinion Philipp, Count Palatine. This
picture, he says, "has a damaged date, catalogued as 1533, and a more clear " aetatis 34," which
is no doubt correct, for the moustache shows five years' more growth " {i.e. than in the " Ambas-
sadors")- " No one who compares the two faces can doubt the identity, or that if of Philipp —
born November 12, 1503, as indicated in our picture — its correct date is 1538." It requires a
very vivid imagination to see a likeness between Wedigh and the portrait of the Bishop of Lavaur
in the National Gallery group ; but Mr. Dickes sees Philipp and Otto Henry in so many
portraits scattered about Europe, having but the faintest resemblance to one another, and gives
to Holbein so many pictures he never painted, and takes from him at least one of his finest works
(the Morette in Dresden, which he calls Otto Henry and attributes to Amberger) that his
attribution with regard to the Wedigh portrait is not worth serious consideration. The date upon
it is plainly enough 1533. At the time he was writing his book the age of the sitter appeared to
be " 34," but recent cleaning shows it to be " 39." (Dickes, Holbeiris "Ambassadors" Unriddled,
p. 81.)
VOL. II. B
1 8 THE MERCHANTS OF THE STEELYARD
at Brunswick. The portrait of Derich Born (PL 4 (i)),1 in the royal
collection at Windsor Castle, painted when he was twenty-three, is,
after the " Gisze " and " Hermann Wedigh " portraits, perhaps the
most attractive of the Steelyard series. It is slightly under life-size,
the figure shown nearly to the waist, turned to the right, and the head,
upon which the light falls strongly from above on the right, nearly
in full-face. His right elbow rests on a stone ledge or parapet which
runs across the picture, the left hand placed across the right wrist, and
a gold signet-ring with a coat of arms on his forefinger. He wears a
flat black cap, black silk dress, and a white shirt with a collar of so-
called Spanish work of black silk thread, very delicately painted. He
is beardless, and has chestnut-brown hair, cut straight across the fore-
head and hiding the ears in the customary fashion.
On the flat stonework below the ledge on which his arm rests is
inscribed, in large Roman letters as though cut in the stone, the follow-
ing Latin couplet:
" Derichvs si vocem addas ipsissimvs hie sit
Hvnc dvbites pictor fecerit an genitor."
(" If you were to add a voice this would be Derich, his very self; and you would doubt
whether a painter or a parent had produced him.")
Below this runs, in slightly smaller letters of the same type :
UDER. BORN ETATIS SVJE 27, ANNO I533-"
The background is of a dark greenish blue against which stand out
some branches and leaves of a vine or fig tree. It is painted in cool and
delicate tones, with flesh tints of a pale brown, in which it bears a
close resemblance to the portrait of Georg Gisze. It is marked, too,
by the same simplicity and restraint, and air of quiet and dignified
repose, and searching truth and insight in the rendering of what must
have been a very attractive nature, qualities which make Holbein's
portraiture so great.
This is the only one of several portraits of the series without letters
or papers bearing the name and address of the sitter which can be
said with absolute certainty to represent one of the London Steelyard
merchants. Mr. W. F. Dickes suggests that it represents the eldest
son and successor of Theodorichus de Born, the printer, of Deventer
1 Woltmann, 266. Reproduced by Law, PI. 3 ; Davies, p. 154; Ganz, Holbein, p. 100 ; Cust,
Royal Collection 0/ Paintings, Windsor Castle, 1906, No. 45.
.
I illl
Vol. II., Plate 3
HERMANN HILLEBRANDT WEDIG
Kaiser Friedrich Museum, Berlin
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PORTRAIT OF DERICH BORN 19
and Nimeguen, who issued the Netherland New Testament in 1532,
and he quotes a reference to a Theodorichus de Born de Novimagio
acting as Secretary to the Faculty of Arts at Cologne University, and
also to a Derichus de Born who had a licence to preach. " Remem-
bering," he says, " that Erasmus spent his schooldays at Deventer,
and that Holbein owed to him several of his introductions, I think my
suggestion deserves to be considered. At any rate, there is no neces-
sity to assume, as is done without a tittle of evidence, that this young
scholar was a member of the Stahlhof ! Nor does the presence of this
portrait at Windsor prove that it was painted in England." 1
Mr. Dickes, whose chief object is to prove, for the purposes of his
theory about the " Ambassadors," that none of these Steelyard por-
traits was painted in England, starts by misquoting the inscription
on the picture, which he gives as " Derichus si vocem addas de Born,"
an extraordinary mixing of the first and third lines. There is no " de
Born " in it, it is distinctly " Der. Born," and though the young man
depicted may have been a member of Theodorichus de Bom's family,
as he suggests, he was certainly a member of the Steelyard, and known
in London as Derich Born. In the Calendars of Letters and Papers,
under the heading of " Ordnance," a paper is printed which gives a
list of " payments made by Erasmus Kyrkenar, the King's armourer,
by his Majesty's command, from 15th Sept. to 13th Oct. 28 Hen.
VIII " (1536), for wages of armourers, and the providing of armour,
harness, &c, in connection with the Rebellion in the North. Among
the items included in his account is the following :
" For various bundles of harness bought of Mr. Locke, merchant
of London, and of Dyrycke Borne, merchant of the Steelyard,''' &c.2
This, though it does not actually prove him to have been in London
in 1533, shows that he was most certainly here three years later as a
member of the Steelyard. Evidence of his presence in London in the
years 1542-49 is to be found in the Inventare hansischer Archive
des 16. Jahrhunderts, I, quoted by Dr. Ganz,3 who states that he was
a merchant of Cologne.
The picture is on oak, 1 ft. 11^ in. high by 1 ft. 7J in. wide. It
was at one time in the Arundel collection, and is entered in the 1655
inventory as " Derichius a Born." It is possible that the earl owned
more than one of the Steelyard portraits, for there are two entries of
1 Dickes, Holbein, &c, p. 6. 2 C.L.P., vol. xi. 686. 3 Holbein, p. 240.
20 THE MERCHANTS OF THE STEELYARD
portraits of men with black birettas. On the back is the brand of
Charles I, " C.R." crowned, though it is not described in his catalogue.
There is a second portrait of Derich Born by Holbein, a small oval
of about 3 in. high (9x8 mm.), on paper, in the Alte Pinakothek at
Munich, giving the head and shoulders only.1 It is painted in oil on
paper, and has suffered somewhat from retouching, but is still an
excellent example of the small portraits in oil on wood or paper, usually
enclosed in a case of wood or ivory, which Holbein was fond of paint-
ing at this period, closely akin to his true miniatures of a rather later
date. In the Munich version the position is reversed, the sitter being
turned to the right, and the face not quite so fully to the front. The
workmanship, more particularly of the collar, is as fine as in the larger
Windsor portrait. His name and age and the date are given, but the
last figures and letters have been cut away, probably when fitting it
into the frame, so that all that is left of the inscription on the back-
ground, on either side of the head, now reads :
"DE . .
BOR
TATIS
SWE
M. D.
XXX
There is every probability that the completed date was 1533, and
that the little picture was produced at about the same time as the
Windsor version, though the sitter looks slightly younger, and while
the more important work was painted for a place on the walls of the
Hanse Guildhall, the lesser one may well have been done for sending
to the sitter's relations abroad. The Munich catalogue states that it
is from the Elector Palatine's palace at Mannheim, but otherwise
nothing is known of its history.
The half-length portrait of Derich Tybis, of Duisburg (PL 4 (2)), about
half the size of life, in the Vienna Gallery (No. 1485), is of the same
date, 1533. 2 It is a full-face representation of a young man, with dark
brown eyes and hair, his double chin and upper lip being clean shaven
and tinged with blue. In his hands, which rest on a table in front of
him, he is holding a letter which he is about to open. He wears the
usual heavy, black, sleeveless cloak or over-coat, with a deep collar
of fur, and a smaller inner collar of lighter fur. The fore-sleeves of his
1 Woltmann, 220. Reproduced by Ganz, Holbein, p. 147.
* Woltmann, 251. Reproduced by Knackfuss, fig. 120 ; Ganz, Holbein, p. 101 ; and in colour
in Early German Painters, folio ii.
PORTRAIT OF DERICH TYBIS 21
under-dress are of dark brown velvet. The open fur collar allows a
glimpse of a finely-pleated white shirt, with a neck-band of a con-
ventional design of holly leaves worked in gold thread in place
of the more usual black Spanish embroidery. He wears two rings
on the forefinger of his left hand, one with an oval green stone in a claw
setting. The table is covered with an olive green cloth, and lying upon
it are a second letter, a paper with an inscription, a seal, quill-pen,
sealing-wax, and a circular inkstand in two divisions, with an ink-well
in one half and some gold coins in the other.
The picture has suffered some damage, more particularly in the
colour. The ground, which was originally azure blue, has turned to
a greenish tone, and the shadows of the flesh are now too grey; but the
masterly draughtmanship is still there and the extraordinary insight
into character. Here again the fine and expressive hands at once
attract attention.
The letter he holds in his hands is from his father, and is addressed
" Dem ersamen Deryck tybis von Duysburch alwyl London vff wi . .
dgyss mynem lesten Sun . . . " (" To the honourable Derich Tybis of
Duisburg, at the time in London, in Windgyss, my dear son "). This
address shows that Tybis was living in Windgoose Alley, one of the
passage-ways running through the Steelyard, with the houses and
shops of the members on either side.
On the open paper lying on the table is inscribed, in imitation of
the sitter's handwriting :
"Jesus Christ us.
" Da ick was 33 jar alt was ick Deryck Tybis to London dyser gestalt en hab dyser
gelicken den mark gesch[rieben] myt myner eigenen Hant en was Holpein malt anno 1533.
per my Deryck [device here] Tybis fan Drys[burch]."
("When I was 33 years old, I, Deryck Tybis, in London, had this appearance, and
I have marked this portrait with my device in my own hand, and it was painted by
Holbein in the year 1533, by me Deryck (here stands the device) Tybis von Drys . . .")
The device, a combination of crosses, is repeated on the seal on
the table, with the letters D.T., reversed, on either side of it. There
is a somewhat similar device on some of the letters in Georg Gisze's
portrait. The address on the second letter, lying in front of him, is
now almost illegible. There is no inscription on the background.
The writer has found no reference to Tybis in the English State
Papers.
22 THE MERCHANTS OF THE STEELYARD
The fourth Steelyard portrait of 1533, that of Cyriacus Fallen, in
the Brunswick Gallery,1 is also a half-length, about half the size of
life. Like Derich Tybis, the sitter is shown full-face, looking at the
spectator. His hair is cut in the customary Steelyard fashion, and he
is clean shaven. His black cap is set rather jauntily on one side, and
his black overcoat has a very heavy fur collar, while his fore-sleeves
are of brown silk with a pattern, as in the Wedigh portrait. The neck
of his white embroidered shirt is just visible over the collar. In his
hands he holds his gloves and two letters, superscribed with his name
and address in London. These addresses are not very legible. Dr.
Woltmann at first supposed the Christian name to be Ambrose, but
further examination proved it to be Cyriacus. One of the inscriptions
is: " Dem Ersamen syryacussfalen zu luden vp Stalhoff sy disser
briff"; and the other: "Dem Ersamen f. . . . syriakus fallenn in
Lunde . . . stalhuff sy dies ..."
On the green background, on either side of the sitter's head, is
inscribed his motto, " Patient in all things," his age, and the date:
IN ALS GEDOLTIG SIS ALTERS. 32.
•ANNO- -1533-
Fallen has a broad face, and a somewhat stolid expression; like
his fellow merchants, he has been placed upon the panel with absolute
truth and precision, without a touch of flattery. The eyes, hands, and
dress are still in excellent condition, but the head, unfortunately, has
suffered greatly in the course of time, and has been much rubbed and
overcleaned, and retouched in numerous places.2
There is a gap of three years before the next and last of this series
of portraits of Hanse merchants is reached, that of Derich Berck or
Berg of Cologne, in Lord Leconfield's collection at Petworth (PI. 5),3
which is dated 1536. He is represented life-size, at half-length, and full
face, with brown hair and beard, and black dress and cap. Both hands
are shown, and the left, resting on a table with a red cover, holds a
letter addressed: — " Dem Ersame' u[n]d fromen Derich berk i. London
upt. Stalhoff," together with the motto besad dz end (" Consider the
1 Woltmann, 126. Reproduced in The Masterpieces of Holbein (Gowan's Art Books, No. 13),
p. 34 ; Ganz, Holbein, p. 99. Reinach gives the surname as Kale, Re'pertoire des Peintures,
vol. ii. p. 518.
* Restored in 1892 by Hauser.
3 Woltmann, 241. First published by Dr. Ganz in Burlington Magazine, October 191 1,
vol. xx. p. 33 ; Ganz, Holbein, p. 107.
2 arA.il t.II .joV
Vol. II., Plate 5
DERICH BERCK
1536
Lord Leconfield's collection
Petworth
I 3TAJ.q ,.II .joV
Vol. II., Plate 5
UERICH BERCK
1536
Lord Leconfield's collection
Petworth
PORTRAIT OF DERICH BERCK 23
end "), and the trade mark of his business house. On the table is a
slip of paper with the Latin motto, " Olim meminisse juvabit," selected
by Berck, says Dr. Ganz, to indicate that Holbein's brush will secure
him immortality.1 In the top right-hand corner are the date and the
sitter's age, " an. 1536. ^eta : 30 " twice over, a later inscription
being painted over the faded original one. The background is blue,
with a green curtain on the left.
The writer has not seen this picture, but it is described as follows
by Dr. Ganz in the Burlington Magazine: — "The merchant's cloth
and cap are black, but not dark; the heavy silk reflects the light in a
greenish colour finely observed. The background is blue, of the same
blue as in the portrait of Richard Southwell at Florence executed in
the same year. It is enriched by a green curtain with red strings,
giving an opportunity for the artist — like the red cloth on the table —
for introducing other tones into his composition, such as black, besides
the main notes of blue and flesh colour. The brightest point in this
profound harmony of colours, a part of the white shirt with black
embroidery, is placed just under the face and makes the fresh and lively
expression of it stronger. The light shines with a rare splendour over
this man's healthy face and is reflected in the grey-blue eyes, which
look so frank and kindly." This picture has suffered from over-paint-
ing, but it remains a splendid and virile example of Holbein's por-
traiture. There is a poor copy of it in the Alte Pinakothek at Munich,2
purchased in 1899 from a local picture-dealer. It had come originally
from France, and was regarded as an unfinished portrait by Holbein
of an unknown man. The Munich catalogue describes it as a school-
replica.
To Holbein the Steelyard proved to be in all ways a fruitful source
of income. Not only was he busily engaged for some years in paint-
ing individual members of the League, but he was also employed by
them in their corporate capacity upon an important work of decora-
tion for their Guildhall, and in at least one other direction. This
decoration consisted of two large allegorical paintings in tempera
representing " The Triumph of Riches " and " The Triumph of
Poverty." No record exists as to the date of this work, but it is
reasonable to suppose that the commission was given him in 1532 or
J533> a* the time when he was in constant attendance within the
1 See Burlington Magazine, vol. xx. p. 32. * Reproduced by Ganz, Holbein, p. 219.
24 THE MERCHANTS OF THE STEELYARD
precincts of the Steelyard for the purpose of painting some of its
leading members in the midst of their daily occupations.
These decorative paintings have long since disappeared, but the
original design for " The Triumph of Riches " exists, as well as numer-
ous copies of both compositions, so that it is possible to gain some
idea of their beauty and importance. These allegories, which con-
tained many life-size figures, were not painted on the walls, but on
canvas, and so easily removable. They added greatly to the artist's
reputation in this country, and before the close of the sixteenth century
they were celebrated throughout Europe among artists and con-
noisseurs of painting. Carel von Mander says that Federigo Zuccaro,
about the year 1574, made two drawings from them, and declared
them to be equal to anything accomplished by Raphael, and that after
his return to Italy he told Goltzius the painter that they were even
finer than any wall-paintings from Raphael's brush.
The two pictures remained in the Guildhall of the Steelyard
until 1598, when it was closed by Queen Elizabeth, who at the same
time expelled the Germans from their houses. For some years the
place remained desolate, and when, in 1606, under James I, the build-
ings were restored to the League, most of the property left behind
was found to have been stolen or badly damaged. The glory and
prosperity of the Steelyard, indeed, had completely vanished, never
to be fully restored again, and when the affairs of the Company in
London were finally wound up, the two pictures were presented by
the League, through their representative, the house-master, Holtscho,
on January 22nd, 1616 (old style) to Henry, Prince of Wales, like his
brother, Charles I, a patron of the fine arts. Holtscho, in describing the
event, says: " I cannot, also, leave it unnoticed, that although these
works are old, and have lost their freshness, yet His Highness, as a lover
of painting, and as the works of the master, specially this work, have
been highly commended, has taken great pleasure in them, as I have
myself perceived, and have also heard from himself." 1 The researches
of Dr. Lappenberg have placed these facts beyond doubt, thus dis-
proving the old legend that the pictures were destroyed when still
hanging on the walls of the banqueting-hall of the Easterlings during
the Great Fire in 1666.
1 Woltmann, i. 381, quoting from Lappenberg, Urkundliche Geschichte des hansischen
Stahlhofes zu London, 1851, pp. 82-87.
THE TWO "TRIUMPHS" 25
It has been generally supposed that on the death of Prince Henry,
two years after they were presented to him, the pictures passed into
the possession of Charles I; and as they were not included among
the pictures of that King's collection sold by order of the Common-
wealth in 1648-53, Dr. Lappenberg concluded that they must have
remained at Whitehall until destroyed in the fire at that palace in
1698. Further evidence, however, appears to contradict this conclu-
sion. In Van der Doort's carefully-prepared catalogue of Charles I's
collection, although several less important works by Holbein are in-
cluded, among them two miniatures, these two celebrated pictures are
not mentioned. Again, Sandrart, in his autobiography, describes the
two compositions in some detail, after seeing them in 1627 m the Earl
of Arundel's possession, in the long garden gallery in Arundel House.
He does not say whether they were pictures or drawings, so that they
may have been only the original designs; it is much more probable,
however, that they were the large paintings, as Sandrart speaks of
them first of all, as the chief of Holbein's works belonging to the Earl,
and afterwards describes three of his best known portraits, hanging in
the same gallery, those of Erasmus, Sir Thomas More, and a " Princess
of Lorraine " (the Duchess of Milan), which seems to indicate that
Lord Arundel possessed the large works. It has been suggested that
they may have been presented by Charles I to the Earl ; but it is more
likely that they were obtained by exchange with that monarch. Later
on they were taken abroad with the rest of the collection by the Coun-
tess of Arundel, and were in Amsterdam at the time of her death in
1654. In the inventory then drawn up they are merely described as
"Triumpho della Richezza" and "Triumpho della Poverta." Prob-
ably they were among the pictures hastily sold by Lord Stafford in
that town immediately after his mother's decease.1 The last trace
of their history to be found is in a paragraph in Felibien's Entretiens
sur les Vies et sur les Outrages des plus excellents Peintres anciens et
modemes, published in 1666, in which he speaks of them as having
been brought from Flanders to Paris: " II y avait encore dans la
maison des Ostrelins, dans la salle du Convive, deux tableaux a de-
trempe, qu'on a veus icy depuis quelques annees, et qu'on avait envoyez
de Flandres." 2
1 See Burlington Magazine, August 191 1, vol. xix. pp. 282-6.
2 Quoted by Woltmann, i. p. 382.
26 THE MERCHANTS OF THE STEELYARD
If Felibien is correct, the pictures had once more come into the
possession of the Hanseatic League. They were, no doubt, purchased
in Amsterdam by that body, and forwarded to Paris. No further
record of them has been discovered, and as they were already in a
damaged state when presented to the Prince of Wales, the probability
is that they have perished.
Holbein's original sketch for " The Triumph of Riches," a masterly
pen drawing washed with Indian ink, and touched with white in the
high lights, is in the Louvre (PL 6).1 A similar drawing in the British
Museum, purchased in 1854, which at one time was attributed to
Holbein himself, is said by Woltmann to be a tracing of the Louvre
example; but it has no appearance of being traced, and is certainly
a copy, perhaps by an Italian.2 The heads and attributes are given
a Raphaelesque air, strikingly different from the Flemish style of a
second drawing in the Museum, of the second composition, " The
Triumph of Poverty." 3 This latter is in black and red chalks and
pen, washed with Indian ink, and heightened with white, on a blue
background, and was acquired in 1894 from the Eastlake collection.
Lady Eastlake possessed a similar drawing of the " Riches." Both
are in all probability by Lucas Vorsterman the younger, and were
purchased by Sir Charles Eastlake from the Walpole sale in 1842 for
sixteen guineas. They appear to be copies, as Vertue suggested, made
for engraving purposes by Lucas Vorsterman from the drawings done
by Zuccaro in 1574 ; or possibly from the original paintings when in
Amsterdam. Vorsterman certainly engraved one, if not both subjects,
though only his engraving of the " Poverty " is known. These
drawings,4 at one time in the Lely collection, were in Buckingham
House, before it was purchased for a royal palace, and were sold as
allegorical works by Van Dyck, and bought by Horace Walpole, who
regarded the " Riches " as by Vorsterman, and the " Poverty " as by
Zuccaro ; but the latter, like the former, is decidedly Flemish in style.5
1 Woltmann, 233. Reproduced by Ganz, Hdz. von H. H. dem Jung., PI. 31 ; Woltmann,
i. p. 384.
2 British Museum Catalogue of Drawings, &c, Binyon, ii. p. 342.
3 Ibid., p. 342.
* The Vorsterman copies are reproduced in outline in Waagen's edition of Kugler's German,
<S~V., Schools of Painting, from drawings made by Sir George Scharf when they were in the
Eastlake collection.
5 Walpole, Anecdotes, &c, ed. Wornum, i. p. 89. Dr. Ganz, however, regards the "Poverty"
as Zuccaro's copy. See Holbein, p. 248.
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THE TWO "TRIUMPHS" 27
Sandrart possessed copies, in all probability those made by Zuccaro,
which were afterwards in the Crozat collection, and when that collec-
tion was sold passed into that of Privy Councillor Fleischmann, of
Strasburg, and while in his possession were engraved for Von Mechel's
" (Euvres de Jean Holbein," and inscribed " Zuccari delin. 1574."
All further traces of these Zuccaro drawings have now been lost.
The British Museum possesses a very rare and interesting
engraving, dated 1561,1 and inscribed " Faicte par Maistre Hans
Holbeyn tres excellent pointre. Et imprime par Johan Borgni Floret0
en Anuers Ian m-d-lxi." It is evidently taken from Holbein's
original design, which must have been in Antwerp at that date. Larger
copies of both paintings are also in the British Museum; they are by
Jan de Bisschop, a Dutch artist who died in 1686, and were probably
made from the original large compositions when they were in Amster-
dam. They are pen drawings washed with bistre, and are executed
with great detail (PI. 7).2 The "Riches" shows several minor
differences and some additions when compared with the Louvre
drawing. Two new characters are introduced, Phileas and Leo Pisanus,
their heads appearing before and behind the charioteer, as well as
Heliogabalus and some unnamed persons; there is a parrot on the tree
in the background (as in the Vorsterman drawing), while the tree itself
is much larger and more finished. All goes to prove, in short, that the
Louvre drawing and the copy of it in the British Museum represent
Holbein's study for the painting, while the Bisschop drawings were
made from the paintings themselves, and the Vorsterman drawings
either from the finished works or from Zuccaro' s copies of them, and
represent the final designs.3 The British Museum possesses a third
copy of the " Triumph of Poverty," made by Matthaus Merian the
Younger in 1640, when the picture was still in London.4
It has been noted in an earlier chapter that Holbein, in his wall-
paintings, was influenced by the example of Andrea Mantegna, whose
" Triumph of Caesar " had a European reputation. The Steelyard
allegories were compositions of a similar nature, though in no sense
copies of any earlier Italian work. The " Triumph of Riches " repre-
sents a crowded procession moving towards the spectator's left. The
1 Reproduced by Ganz, Holbein, p. 175.
2 Both reproduced by Ganz, Holbein, pp. 176-7.
3 See the British Museum Catalogue, i. p. 343.
4 A small version of the "Riches" until recently belonged to Mr. Edwin Seward, F.R.I. B.A.,
of Cardiff.
28 THE MERCHANTS OF THE STEELYARD
magnificent chariot of Plutus, drawn by four white horses, is followed
and surrounded by the most famous men of wealth of antiquity. The
god of riches himself, old, bent, and bald, is seated on a high seat at
the back of the car, with his feet on a sack of gold. In front of him
sits Fortune on a globe, blindfolded,1 her veil blown out like a sail,
and stooping down to scatter gold among the crowd; and in front of
her sits the Charioteer, named Ratio, holding the reins, which are
labelled Notitia and Voluntas. The two near horses, Impostura and
Contractus, are led by Bona Fides and Justitia, two finely designed
figures of women, while two other women, Liberalitas and Mqualitas,
are mounted on the off horses, Avaritia and Usura, which they urge
along with short whips. On either side of the chariot walk Simonides,
Sichaeus, Leo Byzantius, Bassa, Themistocles, Pythius, Crispinus,
Ventidius, who holds up his toga to catch the coins Fortune is scatter-
ing, Gadareus and others, some of them bent down with the weight of
gold they are carrying in sacks or large purses. Behind the car rides
Crcesus, a majestic, crowned figure, his horse led by Narcissus, with
Cleopatra, Midas, Tantalus, and other riders bringing up the rear.
On the extreme right of the composition Nemesis hovers over them in
the clouds. To each figure a label with the name is attached, all of
which are not given on the Louvre drawing, but are found in the
Vorsterman and Bisschop copies. On the extreme left, in the sky, is a
large cartellino,2 with a Latin inscription of two lines in Roman
characters : —
" Avrvm blanditise pater est natvsq. doloris
Qvi caret hoc moeret qvi tenet hie metvit."
This sentence was also written up over the central door of the Steel-
yard Guildhall, and has been ascribed, according to Walpole, to Sir
Thomas More, but this appears to be a legend without any real founda-
tion in fact.
Both compositions were of the same height, but the " Triumph of
Riches " was much the longer of the two, so that they must have been
painted to fill particular and prescribed wall-spaces in the Hall. Prob-
ably the " Riches " occupied the place of honour on one of the long
walls, opposite the windows, with the " Poverty " at one of the ends
of the room. The latter, according to Dr. Ganz, came first, as the
1 In the original drawing. In the Bisschop copy her head is raised, and she is not blindfolded.
8 Not shown in the Louvre drawing.
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THE "TRIUMPH OF POVERTY" 29
heads of a number of the figures in the foreground are turned back-
wards as though looking across the room at the other procession follow-
ing them. In the " Triumph of Poverty," in which the procession
moves in the same direction, from right to left, the central figure is
Poverty, an old woman, lean, and bare to the waist, seated in a
rough waggon with upright poles bearing a canopy of straw. Over
her head is a label with the Greek title " IIenia." Behind her sits
Infortunium, striking with a rod at the heads of the crowd of poverty-
stricken, half-naked figures following the cart, among whom are an old
man, Mendicitas, and an old woman, Miseria. In front of Poverty
sits Industria, distributing instruments of labour, hammers, chisels,
flails, squares, and other tools to the poor workmen walking below,
and she is supported by Usus and Memoria. The cart is driven by
Spes, who looks up towards heaven, and is drawn by two oxen, Negli-
gentia and Pigritia, in the shafts, and two asses, Stupiditas and Ignavia,
as leaders. These steeds are led by four finely designed female figures,
Moderatio, with a whip, Diligentia, Solicitudo, and Labor, the last
carrying a heavy spade. Behind Labor walks a young man with a
basket of carpenter's tools, and a flail over his shoulder. On a tree
in the left background hangs a large wooden tablet with a long Latin
inscription, also attributed to Sir Thomas More, beginning :
" Mortalivm jvcvnditas volvcris et pendvla
Movetvr instar tvrbinis quam nix agit sedvla," &C.1
From the Louvre sketch in particular, but also from the numerous
more or less faithful copies, sufficient evidence of the fine decorative
character of the originals, their sense of rhythmic movement, their
creative power and imagination, and the nobility of their design, can be
obtained. The allegories they set forth were plain enough to read.
They pointed out the instability of fortune and glory, and the virtue
to be found in honest poverty, and warned the merchants who daily
looked upon them, and whose avocations were the making of money,
against undue arrogance in prosperity or needless despondency in
adversity. " Both pieces," says Van Mander, who describes them
with some care, " were excellently arranged, freely drawn, and well
delineated." The colour-scheme appears to have matched the fine
decorative qualities of the design. The compositions were not carried
1 The lines are quoted in full by Wornum, p. 265, and Woltmann, i. p. 385.
30 THE MERCHANTS OF THE STEELYARD
out in natural colours as in a picture. They were painted in greyish
monochrome, with colour sparingly used. The background was blue,
green was used in the trees, and the horses which drew the chariot of
Plutus were white. The flesh tints of the numerous figures were
rendered naturally, but the garments they wore were in monochrome,
ornamented at the borders with gold, which was also used in other
parts of the canvas with excellent effect, so that the paintings, when
in position on the walls, must have added to the rich and brilliant
appearance of the room, with its sideboards covered with silver plate
and pewter ware.
We have one other record of a commission given to Holbein by the
Steelyard. This was the design for the triumphal arch which they
erected on Saturday, May 31st, 1533, when Anne Boleyn rode in pro-
cession from the Tower through the City to Westminster for her corona-
tion. From a letter written by Chapuys, the Imperial Ambassador
in London, to Charles V, dated May 18th in that year, it is evident that
the Germans were not anxious to incur the cost of this decoration;
but the Londoners, who had contributed 5000 ducats towards the
festivities, of which 3000 were for a present to the new Queen, were
determined to make all the inhabitants, irrespective of nationality,
pay their due share.
" The Easterlings," says Chapuys, " as being subjects of your
Majesty, would like to be excused, but the great privileges they enjoy
here prevent them from objecting." 1
Having determined to do it, however, they did it well, as con-
temporary records bear witness. Stow tells us that Anne, after
being greeted at Fenchurch Street by the children of the City Schools,
was still more splendidly welcomed at the corner of Gracechurch
Street, " where was a costly and marvellous cunning pageant made by
the merchants of the Stilyard: therein was the Mount Parnassus,
with the Fountaine of Helicon, which was of white marble, and four
streames without pipe did rise an ell high, and mette together in a little
cup above the fountaine, which fountaine ranne abundantly with
Reynish wine till night. On the mountaine sat Apollo, and at his feete
sate Caliope ; and on every side of the mountaine sate four Muses,
playing on severell sweet instruments, and all their jestes, epigrams,
and poesies were wrytten in golden letters, in the which every Muse,
1 C.L.P., vol. vi. 508.
"APOLLO AND THE MUSES" 31
according to her property, praysed the Queene." Camusat, in his
narrative, says: " In all open places were scaffolds, on which mysteries
were played; and fountains poured forth wine. Along the streets all
the merchants were stationed."
This triumphal arch was designed by Holbein. His original sketch
for it, formerly in the Crozat collection, and more recently in that of the
late Herr Rudolph Weigel, of Leipzig, is now in the Berlin Print Room
(PL 8).1 In its details it corresponds almost exactly with Stow's
description. In the centre Apollo is seated on a rock, beneath a slight
bower or baldachin consisting of thin pillars supporting slender arches
wreathed with leaves, across which hangs a scroll-shaped tablet for
an inscription, the whole surmounted by a two-headed Imperial eagle.
Apollo holds a small harp on his left knee, and with his right hand
directs the music of the attendant Muses, who are grouped beneath
him, five on the left hand and four on the right, on either side of a
fountain of fine Renaissance design, in which the wine is falling from
the smaller upper basin into the larger one beneath. The two front
figures, Calliope and Polyhymnia, are seated, with lute and viol. Four
of the others are singing, and the remainder playing various musical
instruments, one with both a trumpet and a small drum. Apollo,
crowned with a wreath, is clad in classical costume, but the ladies are
wearing dresses of Holbein's day. On either side of the group rise
two tall candelabra, with blank shields for coats of arms, surmounted
with royal crowns. In the background rocky mountains are indicated.
The whole composition is supported by a central arch, of rich Re-
naissance design, shown in perspective, with a large blank tablet, to
contain words of welcome, at its crown, and there are indications of
smaller arches on either side. Thus it is evident that the decoration
was not a painted one, but was a solid structure built across the street,
under which the royal carriage would pass, and that Apollo and the
Muses were represented by living persons, who played their instruments
as the procession went by, while the white marble fountain splashed
its Rhenish wine.
The sketch is a very hasty one, but would be quite sufficient to
indicate to the Steelyard the artist's intentions. Holbein himself, no
doubt, superintended the erection of the archway. Slight as it is, it
1 Woltmann, 175. Reproduced by Ganz, Hdz. von H. H. demjiing., PI. 30, and in Holbein,
p. 178 ; Davies, p. 146; His, PL 51.
32 THE MERCHANTS OF THE STEELYARD
is masterly in draughtsmanship, displaying Holbein's delicacy and
certainty of touch in every stroke. The two seated figures, more
particularly the one on the right, are rapidly drawn with the greatest
grace and charm. According to Woltmann the Imperial eagle on the
summit has only one head; the drawing is rubbed at the top, but there
seem to be indications that the split or two-headed bird, which was
then customary, was intended. Mr. W. F. Dickes denies that this
drawing was intended for the Steelyard arch; he considers it to be a
sketch for one of the Apollo musical festivals of Holbein's Guild
" zum Himmel " at Basel, and uses it as a proof that the painter had
returned to his adopted city in 1533.1 He bases this on an entry in
the Banner Book of the Guild, dated November 23rd, 1533, which he
reads as a payment to Holbein for banners painted for some festivity.2
The symbol of the Basel Painters' Guild was a pigeon with outstretched
wings, within a wreath or bower, and Mr. Dickes sees in the eagle of
the Berlin drawing, which is not within a bower, the pigeon of the
Guild. He states, too, that as the Hanseatic League included merchants
of other than German nationality they would have been unwilling to
use an emblem so limiting as the Imperial bird. This statement is,
however, incorrect. No doubt exists as to the use of the eagle on this
particular occasion. It was, indeed, viewed with extreme distaste
by the new Queen. Eustace Chapuys, writing to Charles V on July
nth, less than six weeks after the event, says: " I understand the
lady (i.e., Anne) complains daily of the Easterlings, who on the day of
her entry had set the Imperial eagle predominant over the King's
arms and hers. . . . This may serve as an indication of her perverse
and malicious nature." 3 And again, on the 30th of the same month,
he returns to the same subject: "... the Lady who, as I am told,
was not at all pleased with the Easterlings and other Germans for
bringing me to see their fleet, which is greater than any that has been
seen here for a long time; or that, at a solemn banquet which they
made, the ships did march with their artillery. She is in a still worse
humour because this was done near Greenwich park; and this has
renewed the regret she felt for the eagle which the Easterlings carried
in triumph the day of her entry here." 4 These letters afford additional
1 Dickes, Holbein 's " Ambassadors " Unriddled, p. 3.
2 This point is dealt with in a later chapter. See pp. 157-8. 3 C.L.P., vol. vi. 805.
* C.L.P., vol. vi. 918.
8 3TAJT ..II JOV
[8UM
I
F
Vol. II., Plate 8
APOLLO AND THE MUSES
Design for the Decoration of the Steelyard on the occasion of the Coronation of
Anne Boleyn
Pen and wash drawing touched with green
Royal Print Room, Berlin
"APOLLO AND THE MUSES" 33
evidence that Holbein made this drawing for the occasion of Anne's
coronation, and that it has nothing to do with Basel or the Zunft zum
Himmel.
The Imperial two-headed eagle was also carved in stone over the
principal entrance to the Steelyard. The old device had disappeared
in the course of time, but in 1670 a new one was placed in position.
The following item occurs in a series of accounts still extant in con-
nection with the Steelyard buildings of that period: " December 31st,
1670. To Gabriel Cibbert, stone-cutter, — for the eagle put on over
the gate from Thames Street, fixed on John Balls buildings, £5."
Caius Gabriel Cibber, a native of Holstein, and father of Colley Cibber,
was a sculptor of some merit who practised in London. This sculp-
tured shield-shaped stone, bearing an eagle displayed with a crowned
collar and two heads, surrounded by an inscription, was also removed
in course of time, and was recently found by Mr. Lawrence Weaver in
the garden of Bickley Hall, Kent.1
1 See Dr. Philip Norman's paper, already quoted, in Arckceologia, vol. Ixi. pt. 2, p. 406, in
which the shield is reproduced.
VOL. II.
CHAPTER XVII
HsKSjJ1
P^^***^v*Sl
™gS&&yte*Mi
"THE TWO AMBASSADORS," 1533
Holbein receives the offer of a yearly pension from the Basel Town Council — "The Two
Ambassadors" — The identity of the sitters — History and description of the picture — Other
portraits of Dinteville and the members of his family — Felix Chretien — Mr. Dickes' theory
that the picture represents the Princes Palatine Otto Henry and Philipp — The " Portrait of a
Musician" at Bulstrode Park.
HROUGHOUT the earlier years of Holbein's second
sojourn in England, though he was busily occupied on
work for the German merchants of the Steelyard, his
time was by no means completely taken up with the
commissions they gave him both individually and as
a corporate body. During the same period he painted
the portraits of more than one Englishman and several foreigners of
distinction.
As already pointed out, he probably returned to England during
the first months of 1532. It is to be presumed that he arrived thus
early — or even in the late autumn of the previous year — or otherwise
it is difficult to account for the letter of recall, dated 2nd September
1532, which was sent to him in England by the Burgomaster of Basel,
Jakob Meyer — not his old patron, Meyer zum Hasen, but Jakob Meyer
zum Hirschen — on behalf of the Council. Such a letter would hardly
have been written if he had been absent from Basel for only a month
or two. It is probable that the best part of a year would be allowed
to elapse before a recall was sent to him. It runs as follows :
" Master Hans Holbein, the painter, now in England.
" We, Jacob Meiger, Burgomaster, and the Council of the City of
Basel, send greeting to our dear citizen, Hans Holbein, and let you
herewith know that it would please us if you would repair home as
soon as possible. In that case, in order that you may the better stay
at home and support your wife and children, we will furnish you yearly
with thirty pieces of money, until we are able to take care of you better.
34
LETTER OF RECALL FROM BASEL 35
We have wished to inform you of this, in order that you may conform
to our desire. Dated Monday, 2nd September 1532." *
The offer contained in this letter, which, though its terms were
not lavish, was a proof that his fellow-citizens appreciated his art and
were anxious to induce him to reside permanently in Basel, was not
tempting enough to induce Holbein to leave England. Whatever
his answer may have been — for it is to be presumed that he received
the letter, though there is no actual evidence to show that he did so —
the Council's request proved ineffectual. He must have felt that it
would be folly to abandon regular and remunerative employment in
London for doubtful and ill-paid municipal commissions in Switzer-
land, more particularly as he had so recently formed a new and lucra-
tive connection with the Steelyard, while memories of the bad times
lately encountered in Basel were still vivid.
As already pointed out, the only three portraits by him bearing
the date 1532 are of German merchants. In the following year, how-
ever, more than one fine work affords proof that the Steelyard was by
no means his only source of income. His most important undertaking
in 1533 was the large double-portrait generally known as " The Two
Ambassadors," now in the National Gallery, for which it was purchased,
in 1890, with two other pictures, from the fifth Earl of Radnor, for
£55,000, of which £25,000 was contributed by the State, and £30,000
by Messrs. Nathaniel Rothschild & Sons, Lord Iveagh, and Mr. Charles
Cotes. The addition of this great painting to the national collections,
in which, until then, Holbein had been unrepresented, aroused much
curiosity as to the personality of the two sitters. Many attempts
were made to identify them, and numerous solutions of the riddle
were suggested in letters to the Times and other papers and reviews.
Magazine articles were written about it, and, lastly, two volumes of
considerable size were published with this picture as their sole sub-
ject. Probably no other painting in the world has produced so great
a mass of literature.
The two men represented are Frenchmen: Jean de Dinteville,
Lord of Polisy, and Bailly of Troyes, and, at the time the picture was
painted, resident French ambassador in London, and his close friend
George de Selve, afterwards Bishop of Lavaur, who came over to
1 Woltmann, English translation, p. 336. Original text in Woltmann, i. 363, and Wornum,
p. 265.
-A~
36 "THE TWO AMBASSADORS"
England in the spring of 1533 on a short visit to the Bailly. The
painting (PI. 9),1 which is on ten vertical panels of oak, is 6 ft.
10 in. high by 6 ft. ioj in. wide, and is thus described in the National
Gallery catalogue :
" The scene is a chamber paved with inlaid marbles, and hung
with green damask, which in the upper left-hand corner partly reveals
a silver crucifix attached to the wall behind. In the centre of the
composition is a wooden stand, having an upper and a lower shelf. To
the left of this, leaning his arm upon it, stands Jean de Dinteville, a
young man with dark brown eyes and beard, in a rich costume of the
period of Henry VIII, wearing a heavy gold chain with the badge of
the French order of Saint-Michel, and, on his right side, depending
from his girdle, a dagger with wrought gold hilt and sheath: on the
sheath the inscription — jet. svm 29. in relief. In his black bonnet
is a jewel formed of a silver skull set in gold. To the~figM,~Geofge
de Selve, dark-eyed, with a close beard, also leans upon the stand, or,
more immediately, on a clasped book, the edges of which are inscribed:
^tatis sv^e 25. He wears a four-cornered black cap, and a loose,
long-sleeved gown of mulberry and black brocade, lined with sable,
and reaching to the ground. Both these persons regard the spectator.
The upper shelf of the stand is covered with a Turkish rug, on which
are several mathematical and astronomical instruments, and, close to
the principal personage, a celestial globe. The lower shelf bears a
case of flutes, a lute, an open music-book containing part of the score
and words of the Lutheran hymn, ' Komm, heiliger Geist/ a smaller
book, on arithmetic, kept partly open by a small square, a pair of
compasses, and a terrestrial hand-globe, which is in a direct line below
the other globe. Under the stand lies the lute-case. Conspicuous
in the foreground is the anamorphosis, or perspectively distorted
image, of a human skull, which, touching the floor on the left, stretches
obliquely upwards towards the right. In the shadow cast on the
floor by the chief personage is the inscription — ' joannes holbein
pingebat 1533 ' in sloping Roman letters." To this it should be
added that Dinteville' s dress consists of a slashed doublet of rose-
coloured satin, and a black surcoat. The latter is lined with ermine,
with which the shoulder-puffs, further adorned with gold tags, are
1 Woltmann, 215. Reproduced by Davies, p. 152; Miss Hervey, Holbein's Ambassadors,
frontispiece ; Dickes, frontispiece; Ganz, Holbein, p. 103 ; and elsewhere.
ioV
J< I /
.
Vol. II., Plate 9
THE TWO AMBASSADORS
Jean de Dinteville and George de Selve
1533
National Gallery, London
HISTORY OF THE PICTURE 37
piped. A large gold and green silk tassel, of very fine execution, hangs,
with the dagger, from his girdle, and he also wears a sword, only the
hilt and sheathed point of which are seen.
All that was known about the picture at the time of its purchase
for the National Gallery was that at the end of the eighteenth century
it was in the possession of Jean Batiste Pierre Le Brun, the Parisian
picture-dealer, and husband of the well-known portrait-painter,
Madame Vigde Le Brun. Le Brun issued a very indifferent engraving
of it by J. A. Pierron in Part XII (dated 1790) of his " Galerie des
Peintres Flamands, Hollandais et Allemands." In the index it was
described as representing " MM. de Selve et d'Avaux; Fun, Ambassa-
deur a Venise, l'autre, dans les pays du Nord, avec les attributs des
Arts qu'ils cultivaient; on voit a terre une Tete de Mort en perspective,
a prendre de Tangle gauche, qui de face ressemble a un poisson."
When the publication was issued in volume form in 1792, with text,
Le Brun slightly amplified this note, and added " J'ai depuis vendu
ce tableau pour FAngleterre, 011 il est maintenant; les figures sont de
grandeur naturelle." He gives no information as to the source from
which he obtained the picture. It is stated in the National Gallery
catalogue that it is probable that it came into the hands of the dealer
Vandergucht, and that from him it was purchased by the second Earl
of Radnor, about 1790 or 1795 ; but from the account books of Long-
ford Castle it would appear that it was sold to the Earl by the dealer
Buchanan, who received one thousand guineas for it, the payments
being made in 1808 and 1809.
During the years the picture remained in Longford Castle many
guesses were made as to the identity of the personages. Le Brun's
title, which, after all, contained half the truth, was not accepted by
the leading critics, largely owing, no doubt, to thefact that the title
of Avaux did not exist until more than a hundred years after the
picture was painted, so that, the one name being impossible, the other
was included in the same category. In the end, a suggestion that
the man on the left of the picture was Sir Thomas Wyat was regarded
as a very possible solution. Mr. Wornum, in his book published in
1867, gave this attribution a qualified acceptance — " the subject is
doubtful, but it is supposed to represent Sir Thomas Wyatt, the poet
and diplomatist, and some learned friend " 1 — and Dr. Woltmann
1 Wornum, p. 275.
3 8 "THE TWO AMBASSADORS"
followed suit, but went a step further, suggesting John Leland, the
antiquary, as the second figure.1 Both identifications, however, were
shown to be inaccurate by Mr. J . Gough Nichols in a paper contributed
to Archceologia in 1873 ;2 but he could offer no name in substitution,
and so the matter stood until the purchase of the picture for the
nation.
The public exhibition of this splendid example of Holbein's art
produced a long and interesting correspondence in the Times news-
paper. Sir J. C. Robinson upheld Dr. Woltmann's belief that the two
men were Wyat and Leland, but Sir Sidney Colvin,3 by means of con-
vincing proofs, showed that this attribution was untenable, as also
that of Le Brun. He gave, at the same time, four reasons for suppos-
ing that the personage on the left was really a Frenchman and an
ambassador — (1) the traditional title; (2) its having been sold into this
country from France; (3) the wearing of the French order of Saint
Michel; and (4) the close resemblance in dress and fashion of the per-
sonage in question and the portrait of another French Ambassador,
the " Morette " at Dresden. He proposed, as a probable solution, the
name of Jean de Dinteville — a suggestion which afterwards proved
to be the correct one. When, in August 1891, the picture was cleaned,
and the name of Polisy, Dinteville's birthplace, an obscure village in
Burgundy, was discovered on the terrestrial globe, the only other
French towns upon it being Paris, Lyon and Bayonne, the identity
of the left-hand figure was placed almost beyond doubt. Sir Sidney
also suggested that the second person might be Nicolas Bourbon, the
French poet.
Other attempted identifications included such divers personages
as Lord Rochford, brother of Anne Boleyn; Count Balthazar Castig-
lione, who came to England to receive the Order of the Garter for the
Duke of Urbino; and Guillaume and Jean du Bellay. The last-named
solution was published in a pamphlet in 1890 by Mr. Elias Dexter,
under the title of Holbein's Ambassadors Identified. The writer sought
to prove that the National Gallery picture and the one engraved for
Le Brun were not the same, and that there must be two versions of
the subject in existence. This contention he based on a number of
slight differences between the accessories in the picture and in Pierron's
1 Woltmann, i. 374. 2 Archceologia, vol. xliv. pt. ii. pp. 450-55.
3 The Times, September 1890.
THE IDENTITY OF THE SITTERS 39
print, but such differences may be easily explained by the inferiority
of the engraver's work and the unusual complexity of the many
details. To prove the identity of the two sitters with the brothers Du
Bellay, who in 1533 were about 42 and 41 years of age respectively,
he was obliged to declare the inscriptions on the dagger and the book
to be forgeries. It is true that Jean du Bellay was in England in that
year for a short time, and this is Mr. Dexter' s sole evidence, though
he professes to see a strong likeness between the two ambassadors and
the portraits of the brothers Du Bellay engraved on the same plate
in the ninth volume of the Versailles Gallery.
A much more elaborate theory was advanced by Mr. W. F. Dickes
in three articles in the Magazine of Art, and in several letters to the
Times in answer to critics unfriendly to his attempted solution of the
riddle. His contention is that the picture was painted as a memorial
of the Treaty of Nuremberg between the Catholics and Protestants
in 1532, and that the two persons represented are the brothers Otto
Henry and Philipp of Neuburg, Counts Palatine of the Rhine. This
theory he still further elaborated in a book published in 1903 under
the title of Holbein's Ambassadors Unriddled. His arguments, how-
ever, are singularly unconvincing, and have failed to obtain the sup-
port of any serious student of Holbein. Before dealing with them,
however, it will be better to give a brief account of the discoveries of
Miss Mary F. S. Hervey, by means of which the identity of Holbein's
two sitters was finally set at rest. Her account of her discovery of a
document which provided conclusive evidence that the two Ambas-
sadors were Jean de Dinteville and George de Selve was communicated
to the Times,1 and this, together with further corroborative evidence,
was embodied in a book, Holbein's Ambassadors : the Picture and the
Men, published in 1900.
In 1895 Miss Hervey happened to come across a copy of the Revue
de ChampagruTet de Brie for 1888, which gave a short notice of a picture
formerly preserved at Polisy, containing the portraits of Jean de
Dinteville and George de Selve. This paragraph was based on a cata-
logue published in March 1888 by M. Saffroy, an antiquarian book-
seller of Pre-Saint-Gervais, in which a seventeenth-century parchment,
describing the picture, was offered for sale. Miss Hervey hastened
to communicate with M. Saffroy, and by one of those happy chances
1 The Times, December 7, 1895.
4o "THE TWO AMBASSADORS"
which seldom occur, the document was still in his possession, and
proved to contain exactly the information which had so long been
sought in vain. The following is a translation of its complete text
as given by Miss Hervey: —
" [Remarks on the subject of an excellent picture of the Sieurs
dTnteville Polizy, and George de Selve Bishop of Lavour, showing the
offices they held, and the time of their decease.]
" In this picture is represented, life-size, Messire Jean de DIntevile
chevalier Sieur de Polizy, near Bar-sur-Seyne, Bailly of Troyes, who
was Ambassador in England for King Francis I in the years 1532 [O.S.]
and 1533 and since Gouverneur of Monsieur Charles de France, second
son (sic) of the said King; the said Charles died at Forest Monstier in the
year 1545, and the said Sr. de DIntvile in the year 1555. Interred in the
Church of the said Polizy. There is also represented in the said picture
Messire George de Selve, Bishop of Lavaur, a personage of great learn-
ing and virtue, who was Ambassador with the Emperor Charles V;
the said Bishop was the son of Messire Jean de Selve, Premier President
of the Parliament of Paris; the said Bishop died in 1541, having in
the above-mentioned year 1532, or 1533, gone to England by per-
mission of the King, to visit the said Sieur de DIntevile, his intimate
friend, and also of all his family; and they two having met in England
an excellent Dutch painter, employed him to make this picture, which
has been carefully preserved at the same place, Polizy, up to the
year 1653."
The manuscript consists of an oblong piece of parchment which
may have been cut from an inventory, but it is more probable that it
was written as a descriptive label to be attached to the picture-frame,
after the picture's removal from Polisy in 1653. The latter supposi-
tion would account for the fact that no mention is made of the place
where the picture then was, which would, of course, be unnecessary.
The authenticity of this document has been pronounced by the
British Museum authorities to be indisputable. The body of it was
written just after the middle of the seventeenth century, while the
heading was added at a slightly later date, at a time, no doubt, when
the label had become separated from the picture.
In her book Miss Hervey gives a long and interesting account of
the lives of the two men. It is sufficient to state here that Jean de
Dinteville was born in September 1504, and was therefore in his twenty-
THE PICTURE AT POLISY 41
ninth year when he came to England as resident French ambassador
in February 1533; and that the name " Polisy " is given a prominent
place on the terrestrial globe placed near him in the picture. The
second sitter, George de Selve, was appointed to the see of Lavaur in
1526, when he was in his eighteenth year, but was only consecrated
in 1534, when he was in his twenty-sixth year, which exactly agrees
with the inscription on the picture, which states that he was then in
his twenty-fifth year.1 Further evidence exists in the shape of a grant
from the Pope to De Selve, dated May 1526, permitting him to hold
several benefices " although only seventeen years old." The fact
that he was not consecrated until the year after the picture was painted,
although appointed to the see of Lavaur in 1526, explains why Holbein
has not represented him in episcopal robes.
This document is confirmed by a further discovery by Miss Hervey
of a Mlmoire preserved in the Bibliotheque de lTnstitut at Paris,
which gives a summary of three letters concerning the picture. The
letters themselves, which so far, with possibly one exception, have not
yet been discovered, were addressed by Nicolas Camusat, the anti-
quary, canon of Troyes, and an intimate friend of the Dinteville
family for many years, to his friends the Godefroy brothers, to
whom and to others he constantly supplied antiquarian and gene-
alogical information. His letters relating to Polisy extended from
1607 to 1655.
The following is a translation of the memorandum :
" Memoir in explanation of three letters sent by Monsr. Camusat,
Canon of St. Pierre at Troyes, [touching a picture made in England
of George de Selve, Bp. of Lavaur, who had gone thither to visit the
Bailly of Troies, Sr. de Polizi, Jean dTnteville, at that time the King's
ambassador].
" There are two relating to the Bishop of Lavaur, George de Selve,
son of Mr. le Premier President de Selve, which Bishop had been in-
vited by Mr. de Polizy, bailly of Troyes, ambassador in England in the
years 1532 [O.S.] and 1533, to visit him in England, which he did,
having first taken leave of the King. And being in England, they had
made the excellent picture by a Dutch painter, Holben, which picture
was preserved in the House of Polizy, distant but one league from
1 See Gallia Christiana (Lutetiae, 1715), vol. xiii. (1722), p. 344. Ecclesia Vaurensis, No. xxi.,
Georgius de Selve. (Quoted by Miss Hervey, p. 13.)
42 "THE TWO AMBASSADORS"
Bar-sur-Seine, a hundred and forty [sic] years and more, as belonging
to the Seigneur of the place, Sr. de Sessac, until the year 1653, when he
had it removed to Paris, to his house near the parish of St. Sulpice;
the said picture representing the said Sr. de Polizy, Jean de d'Inteville,
and the said Sr. Bishop of Lavaur, who was afterwards ambassador
with Charles V; and the said Bishop died in 1541. The said picture
is considered the finest piece of painting in France in the opinion of
the best painters. M. le Mareschal du Plessis-Praslain not long since
bought the estate of Polisy for three hundred thousand livres from
the said Sr. de Sessac.
"Mr. de Vic, garde des sceaux, formerly said that it was the most
beautiful piece of painting in France.
" Mr. George de Selve, and his brothers, worthily served France in
various embassies and legations."
In this document the name of the painter, " Holben," is given;
it is inserted between the lines, but is in the same hand and of the same
date as the writing which surrounds it. The portion at the head of
the memorandum between brackets is by another hand. It is interest-
ing to note that not only is the name of the painter given but that in
the seventeenth century Holbein's work was considered, both by
painters and amateurs, to be the finest picture then in France. There
is in the Godefroy collection a second paper, a copy, dated 1654, of a
memorandum drawn up by Camusat, in which there is further reference
to the picture. It need not be quoted here, but it speaks of the figures
as life-size, and concludes by saying that " the piece is esteemed the
richest and best wrought that is to be found in France." 1
Thus the identity of Holbein's sitters is irrefutably established,
and the picture's history can now be traced almost without a break.
Dinteville, who had already been in England on a short mission in 1531,
reached London at the beginning of February 1533, and was lodged
in the royal palace of Bridewell, by the Thames. The exact date of
George de Selve's visit to him is not known, but it was between Febru-
ary and Easter in that year; he was back in France before the end of
May. There appears to have been some secrecy in connection with the
latter's journey to England, for though he had the permission of Francis
I, for some reason Montmorency, the Grand Master, was, if possible,
1 See Miss Hervey, HolbeitCs Ambassadors, p. 18 et seq., where both documents are repro-
duced in facsimile.
JEAN DE DINTEVILLE AND HOLBEIN 43
to be kept in ignorance of it. In a letter, dated 23rd May, to his
brother, the Bishop of Auxerre, Dinteville says: " Monsr. de Lavor
m'a fait cest honneur que de me venir veoir, qui ne m'a este petit
plaisir. II n'est point de besoing que Mr. le grant maistre en entende
rien." x
It is impossible to say in what way Dinteville became acquainted
with Holbein, or to whose offices the introduction between ambassador
and painter was due. Dinteville counted among his friends more than
one of Holbein's sitters, while he was, no doubt, well acquainted with
Niklaus Kratzer through his keen interest in mechanics and the various
astronomical and mathematical sciences. He had thus more than
one opportunity of seeing examples of Holbein's skill in portraiture,
and it is to be gathered that he conceived a great admiration for it, for
otherwise he would not have ordered so large and important a portrait
group of himself and his friend. With the exception of the " Duchess
of Milan," the More family group, and the now lost " Fitzwilliam,
Earl of Southampton," of which there is a good copy in the Fitz-
william Museum, Cambridge, the " Ambassadors " is the only poi trait-
panel painted by Holbein in England of which there is any record in
which the figures are shown both life size and at full length. As there
is no reference in the State papers of England or France to the semi-
secret business which brought George de Selve over to London, the
suggestion may be hazarded that he came for the express purpose of
having his portrait painted, Dinteville urging him to do so on account
of the excellent painter he had discovered. The picture, crowded as
it is with intricate accessories, must have taken a considerable time to
complete. It was, no doubt, painted in the Ambassador's own room
in Bridewell Palace, and the sitter and the painter must have spent
long hours in planning out and arranging the many mathematical and
scientific instruments which form so important a feature of the panel,
some of which may have been lent by or purchased from Kratzer.
The visit of the future Bishop of Lavaur was so short that he can
hardly have seen more than the beginning of the work and the finishing
of his own head and hands. No doubt Holbein followed his usual
practice and made preliminary studies of the two heads, but these
drawings have not been traced, although there is a very fine unnamed
1 From a letter in the Dupuy Collection, Paris, Bibl. Nat., vol. 726, f. 46, quoted by Miss
Hervey, p. 80.
44 "THE TWO AMBASSADORS
5?
study in the Windsor collection (PL 36 (1)) 1 which is supposed to
represent Jean de Dinteville, the features showing sufficient resemblance
to those of the Bailly of Troyes to induce the suggestion that it represents
him at a later date. Both Sir Sidney Colvin and Miss Hervey hold this
opinion, as did the late Sir Frederick Burton; but it must be confessed
that the resemblance is not very striking.2 The Windsor drawing is
of a man considerably older than the Dinteville of the picture; but
the Bailly, after his residence in this country throughout the greater
part of 1533, paid only three short visits to London between the years
1535 and 1537. Even if the drawing had been made by Holbein in the
last-named year he would only have been in his thirty-third year. A
miniature or portrait, painted by Holbein from this drawing, was in
the Arundel Collection, and was engraved by Hollar. It is highly
improbable, too, that after he had been so elaborately painted
Dinteville would have sat again for his portrait a few years later, so
that, all things considered, this attribution can only be accepted with
caution. There is, however, an undoubted portrait of Dinteville at
Chantilly, forming part of the collection of drawings of the ladies and
gentlemen of the Court of Francis I, by Jean Clouet and his school,
which was formerly at Castle Howard. This portrait was identified
by Miss Hervey in 1904.3 The likeness is very marked, though the
drawing lacks the strength and fine draughtsmanship to be found in
similar portrait studies by Holbein, and it appears to have been done
within a few years of the picture itself.
The picture was taken back to France by Dinteville, and remained
at Polisy until the middle of the seventeenth century. By the
marriage, in 1562, of Dinteville's niece, Claude, with Francois de
Cazillac, Baron de Cessac, the family estates, and with them the picture,
passed into the possession of the latter house, a distinguished family
in the south of France. In 1654 a later Francois de Cazillac sold Polisy,
and permanently removed to the Chateau of Milhars in Languedoc,
his chief residence. From the second document quoted above we
learn that De Cessac removed the picture to his town house in Paris
1 Woltmann, 345 ; Wornum, i. 12 ; Holmes, i. 52 ; engraved by Hollar, 1649 (Parthey, 1547).
Reproduced by Miss Hervey, p. no; Ganz, Hdz. von H. H. dem Jiing., No. 33; Mantz, p. 177.
Hollar's engraving reproduced by Ganz, Holbein, p. 199 (i.).
2 The drawing was conjectured at one time to represent Charles Brandon, Duke of Suffolk,
and it has also been suggested that it is a likeness of Edward Stafford, Duke of Buckingham.
It is described on p. 257.
3 Burlington Magazine, vol. v. No. xvi. (July 1904), where the drawing is reproduced.
"THE COURT OF FRANCIS II" 45
in 1653. This house was in the Rue du Four, St. Germain des Prez,
behind the house known as Chapeaufort, in the parish of St. Sulpice.1
From 1653 onwards there is no actual evidence as to the whereabouts
of the picture until it turned up one hundred and twenty years later
in the Beaujon sale in Paris in 1787. During his researches into its
past history Mr. W. F. Dickes discovered this sale-catalogue in the
Cabinet des Estampes in Paris.2 Nicolas Beaujon, a rich financier
and collector of pictures and objects of art, died without heirs in 1786,
leaving all his money to charities. His pictures were sold in the follow-
ing spring, and among them were two attributed to Holbein. These
two works were not, apparently, part of Beau j on' s collection, but were
put into the sale by some other person.3 The first, which, according
to the sale-catalogue, represented the Court of Francis II, has recently
come to light again;4 the second was the " Ambassadors" picture.
The two were sold together in one lot for the insignificant sum of 602
francs, and the purchaser was evidently Le Brun. The description
of the picture in the sale-catalogue tallies almost exactly with Le
1 See Miss Hervey, Holbein's Ambassadors, pt. i. chap. ii. p. 21.
2 Dickes, p. 9. 3 See below, p. 46.
4 This picture, which is the subject of a very interesting article by Miss Mary F. S. Hervey
and Mr. R. Martin-Holland in the Burlington Magazine for April 191 1 (vol. xviii. No. xcvii.
pp. 48-55), where it is reproduced, together with other works of its author, a forgotten French
painter named Felix Chretien, was described in the Beaujon catalogue as "The Court of
Francis II and the principal nobles of that time, with the attributes of Moses and Aaron, who
present themselves before the King of Egypt, who is Francis II himself; their names are written
on the different contours of their robes," &c. It further stated that it was "by the famous
Holbein, towards 1552." From the time of the Beaujon sale in 1787 all traces of this large panel
painting — 5 ft. 9 in. high by 6 ft. 2 in. wide — were lost, until it suddenly reappeared in Messrs.
Christie's saleroom on February 26, 1910, in company with the big group of Sir Thomas More
and Family. In the catalogue it was given to Holbein, and was described as " Moses and Aaron
before Pharaoh " (" a group of figures, said to represent King Henry VIII as Pharaoh," &c), and
as formerly in the collection of the Prince de Cerny. The mystery of the picture's meaning was
cleared up, and the name of its painter discovered, by Miss Hervey and Mr. Martin-Holland, and
will be found in their paper. It contains portraits of a number of the members of the Dinteville
family, including the Bailly of Troyes, who appears as Moses, and his brother, Frangois II, Bishop
of Auxerre, as Aaron. The Pharaoh is evidently Francis I, though the likeness is by no means a
good one. The names of most of the figures are given on the hems of their robes. The picture
affords valuable additional proof of the identity of the personage on the spectator's left in the
"Ambassadors" with Jean de Dinteville, for the likeness is striking. The picture was painted in
1537, and remained in the possession of the Dinteville family, together with the greater work by
Holbein, for exactly two hundred and fifty years. The identity of the picture with the one in the
Beaujon sale was first pointed out by Mr. P. G. Konody (Burlington Magazine, vol. xix. No. xcviii.,
May 191 1, p. 106). Felix Chretien, the painter of it, was a chorister, and afterwards a canon of
Auxerre, of which town he was probably a native. He was a protege of the Bishop's, and no
doubt owed his training in art to him. Several of his pictures, considerably damaged, remain in
the immediate district of Auxerre.
46 "THE TWO AMBASSADORS
?>
Brun's description which accompanied Pierron's engraving. From
the sale-catalogue he obtained the supposed names of the sitters,
" MM. de Selve et d'Avaux," and he evidently endorsed, without
troubling to make a careful examination of his own, the further state-
ment of the catalogue that there was no date upon it. Probably the
picture was in need of cleaning, so that both signature and date were
obscured. Mr. Wornum discovered them in 1865, and they had been
noted by others before that date. When the picture was acquired
for the National Gallery, however, the signature had again become
obscured by dirt, after the passage of some thirty years, and was only
deciphered after re-cleaning.
Although no actual proofs can be produced as to the whereabouts of
the picture between 1653 and 1787, Miss Hervey, in the course of her re-
searches into the history of the De Cessac family, discovered sufficient
evidence to point to the probability that M. de Cessac took it with him
to Milhars when he finally settled there a few years later, and that it re-
mained there until shortly before the Beaujon sale. The Milhars
estate descended from heir to heir of the house of Dinteville until 1765,
when it was sold by the Marquis de Basville, who then represented
the family. He was the intimate friend of Beaujon, who made him his
executor, in which capacity he drew up the inventory of all the banker's
pictures and art objects. In this inventory, however, there is no trace
of Holbein's " Ambassadors " to be found, and the inference is that as it
was included in the Beaujon sale three months later it was put into
that sale by the executor himself. It seems certain, therefore, that
from the time when the picture was taken from England by Dinteville
in 1533 until it was sent back again by Le Brun more than two hundred
and fifty years later it never once left France, but remained as a
treasured possession in the family for whose ancestor it was painted.1
In spite of the conclusive proof brought forward by Miss Hervey,
Mr. W. F. Dickes, in his book devoted to the unriddling of the " Am-
bassadors," refuse 1 to abandon his theory of the Nuremberg Treaty,
and still pinned his faith to his Princes Palatine Otto Henry and Philipp.
It is essential to his theory that Holbein should be proved to have been
absent from England in 1533, and he, therefore, gives it as his opinion
that the Steelyard portraits of that year, and the Cheseman portrait,2
were most probably painted abroad. He cites, as actual proof that
1 See Miss Hervey, pt. i. chap. ii. 2 See pp. 54-6.
THE THEORIES OF MR. DICKES 47
Holbein was in Basel in 1533, in addition to the extract from the
" Banner Book " referred to in the preceding chapter,1 the " Wheel of
Fortune " picture in distemper at Chatsworth, which is dated 1533,
with the arms of Basel on the post supporting the wheel. u No one can
doubt," he says, " that it was painted by Holbein at Basel in 1533; " 2
but, as a matter of fact, it is not by Holbein at all, being far too poor
a work to be from his hand, but by Hans Schaeufelin, and the initials
" H. H." on it are of later date. The monogram and the well-known
mark, in the form of a shovel, of the latter painter, which have been
tampered with, are still clearly discernible beneath the letters.3
In his book Mr. Dickes abandons, or at least does not reprint, some
of the more fantastic theories he advanced in his magazine articles ; but
in all that he has published on the subject his method of procedure is
the simple one of denying the authenticity of all evidence which is de-
structive of his theory. Thus, he does not hesitate to declare the
first document discovered by Miss Hervey to be an eighteenth-century
forgery, and the two confirmatory papers amongst the Godefroy corre-
spondence he places in the same category. With regard to ihe date and
Holbein's signature, he accepts as a fact the " staggering statement " of
the Beaujon sale-catalogue that in 1787 the picture was unsigned and
undated; and he infers that the inscription was added by Le Brun,
and that the three documents discovered by Miss Hervey were all
forgeries due to the same unscrupulous dealer. Why such an elaborate
falsification should be thought necessary, and what purpose it served,
unless merely to display the genealogical learning of the forger, Mr.
Dickes fails to explain. When Le Brun issued his engraving in 1792,
with a descriptive note lifted bodily from the Beaujon catalogue, and
retaining the same title, " MM. de Selve et d'Avaux," he had already
sold the picture into England, so that to elaborate a series of forgeries in
connection with it, and then scatter them about France and get them
inserted among the papers of learned antiquaries, after the picture
had left the country, would seem to be a very futile proceeding; and if
he had added the date 1533 and a false signature to it before selling it he
would surely have refrained from stating in his printed description of
1 Page 32. See also pp. 157-8.
2 Dickes, p. 6.
3 As pointed out by Mr. S. Arthur Strong in his preface to The Masterpieces of the Duke of
Devonshire's Collection of Pictures, 1901, and republished in Critical Studies and Fragments,
1905, p. 92, and PI. viii. I.
48 "THE TWO AMBASSADORS"
it that it was painted in "la maniere dont il a marque ses ouvrages
H3. BT. 1515." The whole theory, in fact, is absurd, as is Mr. Dickes'
further declaration that the name " Policy " on the globe is also a
forgery due to Le Brun. The inscription on the book giving the age of
George de Selve, " aetatis suae 25," is also a forgery according to the same
authority, or rather, he holds that the last figure was originally an 8,
but that it became damaged, and that when repaired it was altered to a
5 through the ignorance of the restorer. The alteration of the age from
25 to 28, it should be noted, is vital to Mr. Dickes' argument, for other-
wise the second figure cannot represent Count Philipp. Even this
change, however, is not sufficient to put matters right, and so he assumes
arbitrarily that although the picture was painted in 1533 (in spite of its
forged date !) the ages of the sitters inscribed on the dagger and the book
were purposely calculated from the previous year, in order to indicate
that the painting was a memorial of the Nuremberg Treaty of 1532.
Mr. Dickes professes to find further proofs of the ages of the sitters from
the numerous accessories on the table. The cylindrical sundial is so
arranged that it informs us that the sitter against whom it is placed was
born on April 10th, about 10.30 p.m., in the latitude of Neuburg, which
exactly agrees with the birth of Otto Henry, and this information is
confirmed by the decagonal sundial further along the table. With
respect to the second figure, the instruments are still more explicit, for
the date, November 12th, is repeated no less than four times on Apian's
Torquetum, the astrolabe, and the quadrant, with the additional infor-
mation that the hour of birth was between five and six, which exactly
agrees with the day of the month and the hour of the birth of Philipp.1
Space does not permit even a brief reference to further erroneous
inferences which Mr. Dickes draws from other parts of the picture, all of
which were fully and finally dealt with by Sir Sidney Colvin in a review
1 The present writer, although he has made a careful study of Mr. Dickes' readings of the
instruments, has not sufficient scientific knowledge to speak with authority as to the correctness
or otherwise of the results he obtains, which, if true, provide by far the most ingenious and,
indeed, the only plausible evidence he has brought forward in favour of his theory. This evidence,
however, is not always as convincing as he would have us to believe. Thus, the decagonal
sundial, which on two of its sides gives the time as 10.30 (the hour of Otto Henry's birth), very
clearly indicates 9.30 on its third and most prominent side, while it almost touches the elbow of
the second figure, and so should refer, if to any one, to Philipp. Mr. Dickes gets over this
difficulty by the statement that the sundial, " presenting three circles to be read, naturally devotes
the two chief dials to the principal person. These are — the dial with the wire stile, in front, and
the dial beneath the magnet on the top ; " but he offers no suggestion as to whose birth the third
and most prominent dial refers.
THE ACCESSORIES OF THE PICTURE 49
of the book.1 Mr. Dickes by no means strengthens his case by reproduc-
ing a number of portraits, selected from various European galleries, in
which he sees likenesses to his two heroes, though they bear but the
faintest resemblance either to genuine portraits of the Counts Palatine
or to the sitters in the " Ambassadors " picture.2
The book, in spite of the false theory on which it is based, displays
much careful if misplaced research, and as, for this reason, it is apt to
mislead those who have made no serious study of Holbein's work, its
arguments have been briefly dealt with here. Mr. Dickes, however,
is not alone in refusing to accept Jean de Dinteville and George de Selve
as the two ambassadors. Mrs. G. Fortescue, in her book on the painter,3
holds that both Miss Hervey and Mr. Dickes are wrong ; but she brings
forward no names to take the place of those she condemns, and merely
suggests, somewhat mysteriously, that later on she will produce facts
which will provide the correct solution.
Turning again to the picture itself, it is evident that the accessories,
with which the table is crowded, both from their unusual number
and character, were not collected at haphazard merely to afford an
opportunity for displaying Holbein's skill in depicting minutiae, but
that they represent the tastes and learned pursuits of the two sitters,
andj^exe-selected and arranged by Dinteville himself. The prevailing
love of allegory and symbolism, of the emblem or " devise," which was
a marked characteristic of that age, is apparent in many of 1rhe~picture's
details, in some of them to be read plainly, in others so obscurely that it
is now impossible to explain, them satisfactorily. Miss Hervey has
described them with care, and has elucidated much of their meaning and
purpose. The appearance of the Death's-head twice over in the
picture — in the hat-medal worn by Dinteville and in the distorted skull
In the "foreground— -seemy 10 ilidtc^EtiOKartTie ambassador had adopted
it as his personal badge or devise. The picture, indeed, in its general
arrangement bears considerable likeness to the woodcut in the " Dance
of Death " series known as " The Arms of Death " (" Die Wappen des
Todes "), as was first pointed out by Mr. Wornum.4 This suggests the
1 Burlington Magazine, August 1903, pp. 367-69.
* The two most glaring examples of this, which show to what lengths a fixed idea can carry
one, are the splendid portrait by Holbein of the Sieur de Morette, which he declares to be
painted by Amberger, and to represent Otto Henry at some date after 1556, when he was Elector
Palatine ; and the beautiful little portrait of Hermann Wedigh, of the Steelyard, dated 1533, which,
as already noted, he holds to be an unmistakable portrait of Philipp.
3 Holbein (" Little Books on Art"), 1904, p. 149. * Wornum, p. 181.
VOL. II. D
5o "THE TWO AMBASSADORS"
possibility that Dinteville had been shown, perhaps by Holbein himself,
a proof set of the " Dance of Death " woodcuts, and that he had been
greatly impressed by them. He suffered much from ill-health while in
England, which may have had something to do with his choice of a
device of so gloomy a nature.
Certain of the instruments depicted are apparently set to indicate
various dates, such as the birthdays of the sitters or important eventsln
their lives, as pointed out by Mr. Dickes. The same instruments, to-
gether with the other objects, also represent certain of the Seven Liberal
Arts^Music, Arithmetic, Geometry and Astronomy. The terrestrial
globe is copied from Johann Schoner's globe of 1523, to which about
twenty names of towns have been added by Holbein, chiefly in France
and Spain, selected by Dinteville as an epitome of the foreign relations
of France in shaping which he had taken some share, the most important
of these additions, as elucidating the identity of the chief sitter, being, of
course, Polisy. The Lutheran hymn-book and the crucifix may be
taken as symbolical of France's religious diplomacy and the opinions
of the two friends. The hope of religious union between the Roman
Catholic and the Reformed Churches played a large part in the life of
the Bishop of Lavaur. " To find means to promote that end was the
object of his most earnest thought; to see it accomplished, the dearest
wish of his heart."1 Dinteville, too, belonged to the liberal Catholic
party in France, and shared the Bishop's views. Mr. Barclay Squire
first pointed out that the hymn-book in the picture was painted from
a copy of Johann Walther's Geystliche Gesangbilchlein, published at
Wittemberg in 1524. The German arithmetic book was copied from
a manual, The Merchant's Arithmetic Book, by Peter Apian, pub-
lished at Ingoldstadt in 1527. The badge of the order of St. Michael is
worn by Dinteville without the collar of scallop-shells, and merely
suspended from his neck by a gold chain. This was in accordance with
the rules of the Order, which permitted it to be so worn when under
arms, or when travelling, hunting, or when at home in private, or in
other places where there was no company. Other details of the picture
are equally interesting, more particularly the elaborate mosaic pave-
ment, which Miss Hervey discovered to be an accurate copy of the
well-known paved floor in the Sanctuary of Westminster Abbey, for the
construction of which marbles and workmen were brought from Italy
1 Miss Hervey, p. 221.
THE ACCESSORIES OF THE PICTURE 51
by Abbot Richard Ware in the reign of Henry III. This interesting
discovery affords additional proof that the " Ambassadors " was
painted in England.
The picture, which in point of size and in the elaboration of its
many details is the most important work by Holbein remaining in
England, is a brilliant example of the painter's technical abilities,
though as a composition it is less successful than certain other less
ambitious portraits from his brush. The accessories, on account of
their number, variety, and brilliance of execution, and the central
position given to them — so that the two figures have something of the
appearance of the supporters to a coat of arms, as in some of Holbein's
designs for glass — to some extent distract the attention from the
ambassadors themselves. Dinteville appears to have selected them
with great care, and evidently attached great importance to them and
the meanings they were intended to convey; while the painter carried
out his wishes so admirably that they remain to-day almost as import-
ant a part of the picture as they did in the opinion of the man for whom
the work was painted. ( The distorted skull, in particular, which at once
catches the eye, however, entertaining or clever a rebus or emblem-
atic puzzle the Bailly may have thpught it, rip)rfc far ton prominent a
position in the composition for the painting to be regarded as a picture
in the highest sense of the word. It is, nevertheless, a work possessing
very great qualities, and, in many respects, must be placed in the fore
front of Holbein's achievement. The faces of the two men are finely
and delicately modelled, though their character is not quite so subtly
expressed as in such a portrait as that of the " Duchess of Milan." The
dark, penetrating eyes and well-chiselled mouth of Dinteville give
vitality to his intellectual face, in which can be traced some indications
of the delicate constitution which was so ill suited to the climate of
England. De Selve is grave in contrast, with dark eyebrows and a
more pallid complexion, and his countenance has less expression and
vitality than is to be found in that of his companion. It has been sug-
gested that this contrast between the two figures is so great that it
indicates the fact proved by Dinteville' s letter, that the future Bishop's
stay in this country was of limited duration, and that his portrait was
probably not completed from life.
In concluding this account of Dinteville' s connection with Holbein
reference must be made to a portrait in the possession of Sir John
52 "THE TWO AMBASSADORS"
Ramsden, Bt., of Bulstrode Park, Buckingham, recently published and
described for the first time by Dr. Ganz in the Burlington Magazine,1
which represents a man with a book of music and a lute (PL 10). This
" Portrait of a Musician " he regards as an undoubted likeness of the
Bailly of Troyes from Holbein's brush. He describes it as follows : " The
man is sitting behind a table, and holds in his right hand a roll of paper,
in the left a guitar. Two books in red bindings with green ribbons are
placed, one open, one closed, on the red tablecloth, and this group of
colours forms the contrast to the green curtain of the background. The
cap and the black coat with large facings and white shirt-ruffles hanging
down are decorated with golden buttags of a longish form, after the
French fashion of the time. The blue eyes, looking with a sharp and cold
glance, give the impression of a man of great reflection and prudence;
and the beautiful, carefully tended hands belong to a gentleman of the
Court. . . . Round the neck he wears a small golden chain and a
black silk ribbon, to which is attached an object of a very singular form,
executed in gold and embellished with precious stones. This cannot be
a simple jewel, intended merely to hang on the gold chain, but it seems to
be a kind of whistle used in place of a tuning-fork." 2 This portrait is
said to represent Lord Vaux of Harrowden, from its supposed resemb-
lance to the two drawings by Holbein of that personage at Windsor,
but Dr. Ganz holds that it bears a much closer resemblance to Dinte-
ville as he is shown in the " Ambassadors," and still more so to the
drawing found by Miss Hervey at Chantilly. He considers that the
longer beard indicates that it was painted two years later than the
National Gallery picture. " The technical execution," he says, " con-
firms a later date of origin; the blending of the colours and the bril-
liancy are in the well-preserved parts like the finest enamel. The right
hand, which has a smooth appearance, is retouched; but the extra-
ordinary quality of Holbein's art in modelling the flesh without any
contrast is to be found in the face and in the execution of the left hand.
His attention was not limited to creating a portrait with the exactness
of a looking-glass; he tried to give the man in his intimacy by obtaining
a spacious effect. He placed the figure between two objects and painted
1 Vol. xx., October 191 1, pp. 31-2. Also reproduced in Holbein, p. 137.
2 This object is in reality "a penknife containing also tooth-picks and ear-spoons or other
little instruments such as tweezers or awls." See letter from Mr. Sydney J. A. Churchill in
Burlington Magazine, vol. xx., January 1912, p. 239, who calls attention to a similar penknife in the
Figdor Collection, and to'an engraving by Aldegrever of a like object dated 1539.
oi stajI ,.II .joV
Vol. II., Plate io
PORTRAIT OF A MUSICIAN
Sir John Ramsden, Bulstrode Park
"PORTRAIT OF A MUSICIAN' ' 53
the shadows in their real values." While admitting that the likeness
between this Musician and Dinteville is a strong one, the present
writer is of opinion that the picture at Bulstrode Park does not represent
the French ambassador. As already pointed out,1 Dinteville' s subse-
quent visits to England were all short ones, of only a few weeks' duration,
during which time there would be little opportunity for sitting for his
portrait, nor is it very probable that he would want a second likeness
of himself so shortly after the big work was finished. Little is known
of the history of Sir John Ramsden's picture, but it is probably the
ritratto d'un Musico of the Arundel inventory. It is said to have been
purchased in i860 from a sale in Scotland. Either this picture, or a
replica of it, was in the Ralph Bernal sale, 1855, when it was sold to
Mr. Morant for one hundred guineas. It was described in the sale
catalogue as : " Portrait of Nicholas, Lord Vaux, the poet and
musician, in a black dress and cap, seated at a table, an open book
before him, he holds a viol de gambe in his left hand, green drapery
behind, iy\ x 17, a most beautiful portrait of the highest interest."
1 See above, p. 44.
CHAPTER XVIII
PORTRAITS OF 1533-1536
Portraits of Robert Cheseman— Thomas Cromwell— Lord Abergavenny— Charles de Solier, Sieur
de Morette— The Earl of Arundel's collection of pictures— Roundels of a man and his wife
at Vienna— Portraits of members of the Poyntz family— Nicolas Bourbon— His verses in
praise of Holbein— Design for the title-page of Coverdale's Bible— Other woodcut designs
produced in England— Hall's Chronicle— Portraits of Sir Thomas Wyat— Margaret Wyat,
Lady Lee— Sir Richard Southwell— Sir Thomas le Strange— Lady Vaux— Sir Nicholas
Carew.
| HERE is only one portrait by Holbein bearing the date
I533 which can be said with any certainty to represent
an Englishman. This is the very beautiful one of
Robert Cheseman, now in the Hague Gallery, which
has been known for so long under the erroneous title of
''Henry VIII's Falconer" (PL n).1 It represents
a man holding a much higher social position than that of a mere keeper
of hawks. Henry's falconers were paid at a rate which did not permit
them to employ the services of the leading artist of the day should
they wish — which is not at all probable — to have their portraits painted.
Their wages, in fact, ranged between fifty and twenty shillings a
month. Cheseman, in common with other gentlemen of that period,
chose to be painted with his favourite hawk upon his wrist, for the
same reason that the country squires of the eighteenth century were
so often depicted with their favourite dogs. Another example of this
habit is to be seen in the equally fine portrait by Holbein of an unknown
man, also in the Hague Gallery, dated 1542, who is evidently a gentle-
man, and not a professional falconer.2
Robert Cheseman, of Dormanswell, near Norwood, in Middlesex,
and Northcote, in Essex, was a man of wealth, and one of the leading
commoners of the first-named county. He was born in 1485, son and
heir of Edward Cheseman, Cofferer and Keeper of the Wardrobe to
1 Woltmann, 159. Reproduced by Davies, p. 158 ; Knackfuss, fig. 122 ; Ganz, Holbein, p. 102 ;
and elsewhere. a See p. 203.
54
n aTA.i*? ,.U
Vol.. II., Platk ii
ROBERT CHESEMAN
J533
Royal Picture Gallery, Mauritshuis, The Hague
^m\
fc;1*
^L
f *
PORTRAIT OF ROBERT CHESEMAN 55
Henry VII, and succeeded to the family estates in 1517. His father
is mentioned in a pardon granted on March 2nd, i486,1 " to Edward
Cheseman of London, gentleman, of all fines, forfeitures, etc., due to
the King or to Richard III, late, in deed and not of right, King of
England," which was granted him as one of the executors of the will
of Thomas Windesore, Constable of Windsor Castle. There was also
a William Cheseman, probably an uncle of Robert, who in 1485 and
i486 received grants of the offices of bailiff of the rapes of Lewes and
of Braneburgh, and of Clerk of the Market of the town of Lewes, " in
consideracion of the true and feithfulle service that our welbeloved
servaunt and true liegeman William Cheseman hathe doone unto
us, as well in the parties of beyonde the see, as at oure late victorious
felde within this oure royaume." 2
On August 30th, 1523, Robert Cheseman was appointed Com-
missioner for Essex to collect the subsidy,3 and in December 1528
was placed upon the commission of the peace for Middlesex. In 1530
he represented the same county on a commission " to make inquisition
in different counties concerning the possessions held by Thomas
Cardinal Archbishop of York (Wolsey) on 2 Dec. 15 Hen. VIII, when
the Cardinal committed certain offences against the Crown for which
he was attainted." 4 During his life he served on a number of com-
missions for collecting tithes, subsidies, and the like, including one in
1533, the year in which he sat to Holbein. In 1536 his name appears
among a list of people from whom money is due to the King by obliga-
tions,5 while in the same year he supplied thirty men for the army
against the Northern rebels, which proves him to have been a man of
considerable substance.6 He served on the Grand Jury at the trials
of Sir Geoffrey Pole, Sir Edward Neville, and others, in 1538,7 and of
Thomas Culpeper and Francis Dereham for treason in connection with
the trial of Queen Catherine Howard in 1541.8 He was among the
" squires " selected to welcome Anne of Cleves when she first landed
in England, and was, in fact, one of some half-dozen men of position
who represented Middlesex on all such public occasions. In 1543 he
supplied ten footmen for the army going into Flanders " for the
1 Rev. William Campbell, M aterials for a History of the Reign of Henry VII, Rolls Publica-
tions, 1873, p. 336.
* Ibid., p. 345. 8 C.L.P., vol. iii. pt. ii. 3282. * C.L.P., vol. iv. pt. iii. 6516, 6598.
s C.L.P., vol. x. 1257. « C.L.P., vol. xi. 580. 7 C.L.P., vol. xiii. pt. ii. 986.
8 C.L.P., vol. xvi. 1395 (p. 645).
56 PORTRAITS OF 1533-1536
defence of the Emperor's Low Countries,1 and in the following year he
himself appears to have gone with the English army into France, and
it is noted against his name in the muster book that he had " 10 foot-
men already beyond the seas." He married Alice, daughter of Henry
Dacres, of Mayfield, Staffordshire, a merchant-tailor and alderman of
Fleet Street, London. She died on July 31st, 1547, and was buried
at Norwood. His daughter and heir, Anne Cheseman, married Francis
Chamberlayne.
The portrait of Cheseman is a half-length, facing the spectator,
the head and eyes turned to the left. He wears a purplish red silk
doublet, and a black cloak trimmed with fur, and the customary black
cap. On his left hand, which is gloved, he carries a hooded hawk,
with a bell on its claw, and with the other hand strokes its feathers.
He is clean shaven, and his long hair, which is beginning to turn grey,
covers his ears. Across the plain blue background, which has turned
green through the discoloration of the varnish, on either side of the
sitter's head, runs the inscription in Roman lettering:
" ROBERTVS CHESEMAN. ETATES SWE XLVIII • ANNO DM. M D XXXIII."
The painting of the beautiful plumage of the bird is a most masterly
piece of work, and the keen, piercing eyes and clean-cut face of its
master are rendered with that unerring truth and wonderful insight
which give Holbein his foremost place among the supreme painters of
portraits.
This picture was seen by Sir Joshua Reynolds during his tour
through Flanders and Holland in 1781, and in his diary he describes
it as: — " A portrait by Holbein; admirable for its truth and precision
and extremely well coloured. The blue flat ground which is behind
the head gives a general effect of dryness to the picture: had the
ground been varied, and made to harmonize more with the figure, this
portrait might have stood in competition with the works of the best
portrait painters." 2 This accusation of a slight " dryness " is to some
extent true of certain, though by no means all, of the portraits painted
by Holbein in England, when compared with some of his earlier work
done in Basel. It has been suggested that this may have been due to
a growing habit, caused by the increasing demands made upon his time,
1 C.L.P., vol. xviii. pt. i. 832 (p. 467).
2 A Journey to Flanders and Holland in the year 1 781. Works, vol. ii.
PORTRAIT OF ROBERT CHESEMAN 57
of placing greater reliance on his preliminary chalk studies in painting
a portrait, and thereby reducing the number of sittings given him by
the actual model.1
An old copy of this portrait was lent to the Tudor Exhibition,
1890 (No. 173A), by the Rev. Charles Shepherd. The original picture
was once in the royal collections of England. It was No. 8 on the list
of objects of art which Queen Anne reclaimed from the Dutch States
at the death of William III as having formed part of the collection
belonging to the English royal house. Her claim was unsuccessful, and
the picture remained in Holland. On the back of the panel are the
letters w.e.h.p.l.c. and the seal of Johan Willem Friso, Prince of
Orange-Nassau, in whose collection it was, and afterwards in that of
William V. The second fine portrait of a man with a hawk in the
Hague Gallery,2 dated 1542, was another of the pictures claimed by
Anne, and was No. 21 in her list. A third picture in the Hague,
the beautiful portrait of a young woman3 (No. 275), now considered
to represent Holbein's wife, has been already described. The Chese-
man and the 1542 portrait were evidently taken over to Holland,
with other paintings, by William III during one of his visits to the
Hague.
A small round portrait on wood, in the collection of Frau L. Gold-
schmidt-Przibram in Brussels,4 is dated 1533. According to both
Woltmann and Zahn it is in a very damaged condition, but is a genuine
work of Holbein. It represents a young man at half-length, facing
the spectator, but with the head slightly turned to the left. He is
clean-shaven, with bushy hair half hiding his ears, and wears the small
flat black cap and costume of the German merchants of the Steelyard,
and he was probably a member of that body. The right hand only is
shown, holding a carnation. Across the plain background, on either
side of the head, is inscribed " anno 1533." The face is a very
attractive one, and the portrait has for years been regarded as repre-
senting the painter himself. Dr. Woltmann so included it in his book,
but it bears little resemblance to the genuine portraits of Holbein.
It was previously in the Jager, Gsell, and Fraulein Gabriele Przibram
collections in Vienna.
1 Wornum, p. 251-2. 2 See p. 203. 3 See Vol. i. p. 106.
* Woltmann, 261. Reproduced by Ganz, Holbein, p. 104. Exhibition of Miniatures at
Brussels, 1912, No. 855a.
58 PORTRAITS OF 1533-1536
During 1533, or in the first months of 1534, Holbein painted Thomas
Cromwell. The future Earl of Essex and " viceregent of the King in
all his ecclesiastical jurisdiction within the realm " was then only at
the beginning of his political career, and filled the minor post of Master
of the Jewel House. The portrait of him in the possession of the Earl
of Caledon,1 at Tyttenhanger Park, St. Albans, which is evidently the
original of several versions still in existence, although it has suffered
greatly in the course of time, must be regarded as a genuine work of
Holbein's brush. The face has undergone severe repainting, but in
many of the details his hand can be clearly traced. On one of the
papers on the table in front of the sitter is the following address : "To
our trusty and right wellbiloved Counsailler Thomas Cromwell, Maister
of or Jewelhouse," which proves that it cannot have been painted later
than the first months of 1534, for early in that year Cromwell was
promoted to be First Secretary of State and Master of the Rolls. He
must, therefore, have sat to Holbein at some date between the latter
half of 1532 and the spring of 1534, having been appointed to the
Jewel House on the 12th April 1532 in place of Robert Amadas, the
jeweller. If done after his advancement, his higher titles would have
been noted in the inscription.
It is very possible that Cromwell first made the acquaintance of
Holbein through their common friends, the merchants of the Steel-
yard, with whom the future Lord Privy Seal was closely allied in more
than one business transaction, more particularly in connection with
the wool trade, of which the Hanse merchants then had a monopoly.
He also made constant use of their services later on in his career for
the collection of continental news, the forwarding of diets to various
English ambassadors abroad, the translating of foreign letters, and so
on.
Eustace Chapuys, the Spanish Ambassador in London, in reply
to a query from his Imperial master as to the character of Henry's
new minister, sent, in November 1535, a short and amusing biographi-
cal sketch of his career, interesting as showing how Cromwell appeared
in the eyes of a foreigner.
" The Secretary, Cromwell," he wrote, " is the son of a poor farrier,
who lived in a little village a league and a half from here (London), and
1 Woltmann, 249. Reproduced by Davies, p. 159; Pollard, Henry VIII, p. 180; Cust,
Burlington Magazine, vol. xx. p. 7 ; Ganz, Holbein, p. 106.
PORTRAIT OF THOMAS CROMWELL 59
is buried in the parish graveyard. His uncle, father of the cousin
whom he has already made rich, was cook (cousinier) of the late arch-
bishop of Canterbury. Cromwell was ill-behaved when young, and
after an imprisonment was forced to leave the country. He went to
Flanders, Rome, and elsewhere in Italy. When he returned he married
the daughter of a shearman, and served in his house; he then became
a solicitor. The cardinal of York, seeing his vigilance and diligence,
his ability and promptitude, both in evil and good, took him into his
service, and employed him principally in demolishing rive or six good
monasteries. At the Cardinal's fall no one behaved better to him than
Cromwell. After the Cardinal's death Wallop attacked him with insults
and threats, and for protection he procured an audience of the King,
and promised to make him the richest king that ever was in England.
The King immediately retained him on his Council, but told no one for
four months. Now he stands above everyone but the Lady (Anne
Boleyn), and everyone considers he has more credit with his master
than Wolsey had — in whose time there were others who shared his
credit, as Maistre Conton (Compton), the duke of Suffolk, and others,
but now there is no one else who does anything. The Chancellor is
only his minister. Cromwell would not accept the office hitherto,
but it is thought that soon he will allow himself to be persuaded to
take it. He speaks well in his own language, and tolerably in Latin,
French and Italian ; is hospitable, liberal both with his property and
with gracious words, magnificent in his household and in building." *
This is the man whom Holbein painted when he was merely Master
of the Jewel House and Clerk of the Hanaper of Chancery. He is
shown, in Lord Caledon's picture, at half-length, seated in a high-
backed wooden seat, his head and body turned to the left, looking
towards a window, only a small part of which is seen, with a small
table beneath it covered with a Turkish cloth, on which papers are
placed. He is dressed in a black surcoat with a deep fur collar, and a
black cap. He rests his left elbow on another table in front of him,
and holds a paper in his left hand, on the first ringer of which is a heavy
signet ring. The right hand is not shown. He is clean-shaven, and
his bushy hair almost covers his ears and falls on the back of his neck.
On the table are pen and ink, a richly-bound book with jewelled clasps,
and several papers, on one of which is the inscription already quoted.
1 C.L.P., vol. ix. 862.
60 PORTRAITS OF 1533-1536
On a second paper the word " Counsellor " can be deciphered at the
head. The face, with its small eyes set closely together, its thin, com-
pressed lips and double chin, and its sinister expression of cold deter-
mination, is a far from attractive one, and lays bare that side of Crom-
well's character for which he was so heartily hated by the Catholic
party. In it is to be seen little of that other side of him, of which,
after his downfall, Cranmer spoke, when writing to Henry on behalf
of his old minister. " Cromwell," he said, " was such a servant in my
judgment, in wisdom, diligence, faithfulness, and experience, as no
prince in this realm ever had." A large scroll stretching across the
top of the picture, evidently added after Cromwell's death, contains a
Latin inscription in his praise. The portrait is on panel, 30 in. x 24 in.
A smaller portrait of Cromwell, a circular painting with a green
background, and enclosed in a painted square stone frame, showing
the head only, is described by Wornum and Woltmann.1 It was at
that time in the possession of Captain Ridgway, of Waterloo Place,
London.2 It is 12 in. square, and differs in some details from the
Tyttenhanger portrait. Both writers appear to regard it as a genuine
work by Holbein. A portrait of Cromwell was one of the few works
mentioned by name by Van Mander when describing De Loo's collec-
tion of Holbein's works: — " the old Lord Crauwl, about a foot and a
half high, taken unusually artistically by Holbein." Although the
dimensions do not quite agree, Woltmann suggests that Captain
Ridgway's little picture was the one thus described. According to
Mr. Lionel Cust,3 the few portraits of Cromwell which have any claim
to authenticity are all traceable to Holbein, and fall into two groups,
or at most three, each group deriving from an original portrait by him.
In the first class are the Tyttenhanger picture and others based directly
upon it. This portrait, he says, descends direct from Sir Thomas
Pope, one of Cromwell's instruments in the suppression of the
monasteries. The second group includes such pictures as the one in
the National Portrait Gallery (No. 1683, l6f in. x 13 in.),4 purchased
in 1897, of which there are several versions in existence, though there
1 Woltmann, 212, and i. 376 ; Wornum, p. 287.
2 Now, according to Dr. Ganz {Holbein, p. 241) in that of M. Kleinberger, Paris.
3 In an interesting paper on "A newly-discovered miniature of Thomas Cromwell,"
Burlington Magazine, vol. xx., October 191 1, pp. 5-7.
* Reproduced in Mr. Cust's illustrated catalogue of the National Portrait Gallery, vol. i. p. 19,
and in the Burlington Magazine, vol. xx. p. 7.
PORTRAITS OF THOMAS CROMWELL 61
is no portrait of this type so far traced which can be attributed to Hol-
bein himself. The pictures in this group show the head and shoulders
only, and differ in minor details from the Tyttenhanger type. The
look of craftiness is accentuated, and he is shown with a slight grey
whisker, and the pointed arch of the eyebrows is more strongly marked.
The third group, which is closely allied to the second, includes the
recently-discovered miniature in the late Mr. J. Pierpont Morgan's col-
lection,1 and the medal in the British Museum, of the date 1538, which,
according to Mr. Cust, is evidently based on a drawing by Holbein.2
There was a portrait of Cromwell in the Arundel collection, which
is entered in the inventory as "ritratto de Cromwell." This was
evidently the one in the possession of De Loo, which afterwards
passed, with other works by Holbein, from that dealer's collection
into that of the Earl. Hollar's engraving,3 which is not signed
or dated, does not appear to have been taken from the portrait at
Tyttenhanger, but was most probably based upon the Arundel
picture; but whether that picture was an original by Holbein, now
lost, or one of the numerous versions now in existence, it is impos-
sible to say. One of these versions is in the collection of M. Ch. Leon
Cardon, Brussels.
Several portraits of Cromwell were included in the Tudor Exhibi-
tion, 1890, wrongly attributed to Holbein. Among them was a bust
portrait, to the right, with a jewel in the cap, and the Garter George
suspended from a black ribbon, lent by the Duke of Sutherland (No.
39, 20 in. X17 in.); a small half-length, to the left, wearing both collar
and George of the Garter, from Corpus Christi College, Cambridge
(No. 160, 22^ in. x 17 in.); and versions of the Tyttenhanger picture
lent by Mr. Charles Penruddocke (No. 162, 18 in. xi6 in.), and the
Duke of Manchester (No. 163, 14 in. xii|- in.).4 In addition to the
Hollar print, engravings were made, from one or other of the copies
of the original picture, by Houbraken for his Heads of Illustrious
Persons, 1745, from a picture in the possession of Mr. Edward
Southwell, and by Freeman for Lodge's Portraits, 1835, the latter from
a picture in the possession of Sir Thomas Constable, Bt., at Tixall.
Probably both engravings were done from the same painting.
1 Described in chapter xxv. See p. 231 and PI. 31 (6).
2 Reproduced in Burlington Magazine, vol. xx. p. 7. 3 Parthey, 1386.
4 A portrait of Cromwell, attributed to Holbein, the property of the late Mr. J. P. Hardy, was
sold at Christie's on 13th December 1912.
62 PORTRAITS OF 1533-1536
There is a magnificent drawing, one of the most powerful studies
Holbein ever accomplished, in the collection of the Earl of Pembroke
and Montgomery at Wilton House,1 which until recently has been
generally regarded as a portrait of the Lord Privy Seal — though it
bears little likeness to the Tyttenhanger panel — because the words
" Lord Cromwell " and " Holbein " have been inscribed in the bottom
corners by a later hand than the painter's. It is in black and red chalk
on paper tinted pink, with slight touches of colour on the fur of the
gown and the jewel in the cap. The outlines of the features have
been reinforced in ink, but this, in contradistinction to some of the
drawings in the Windsor collection, where such retouching is evidently
from a later hand, has been carried out with such power combined with
delicacy that it seems certain that it was done by Holbein himself.
The drawing evidently at one time formed part of the Windsor series,
at the date when the latter was given by Charles I to an earlier Earl
of Pembroke in exchange for the little " St. George " by Raphael,
which is now in the Hermitage. This book of drawings was afterwards
given by Pembroke to the Earl of Arundel, and it is most probable
that the so-called " Cromwell " drawing remained behind, perhaps
by accident. Quite recently it has been definitely identified as the
portrait of George Nevill, third Lord Abergavenny, by means of a
miniature in the possession of the Duke of Buccleuch, in water-colours,
on a playing-card, which is based on Holbein's drawing, and is inscribed
" G. Abergaveny." 2 It bears a very strong likeness to the drawing,
and is attributed to Holbein himself. Further proof of identity is
obtained from a picture, which agrees with the miniature but does
not show the hands, in the collection of the Marquis of Abergavenny
at Edridge Castle, Kent. Both the Wilton drawing and the minia-
ture were included in the Burlington Fine Arts Club Exhibition, 1909
(No. 70 and Case C. No. 22), and the former was in the Tudor Exhibi-
tion, 1890 (No. 1414).
Singularly few examples remain of work executed by Holbein in
1534 and 1535. There are no dated portraits from his brush of the
former year, with the exception of the two small roundels in Vienna,
and none of the latter year, for the date on the beautiful miniature of
1 Woltmann, 263. Reproduced by Davies, p. 162 ; Vasari Society, pt. v. No. 28 ; Catalogue
of Burlington Fine Arts Clnb Exhibition, 1909, PI. xxviii.
2 Reproduced in The Connoisseur, vol. xviii. No. 71, July 1907, frontispiece (in colour) ; and in
the Illustrated Catalogue of the Burlington Fine Arts Exhibition, PI. xxxiii.
PORTRAIT OF MORETTE 63
little Henry Brandon at Windsor, usually given as 1535, has been
misread.1 There are one or two portraits which must have been done
during this period, among them the Morette, the drawing of Nicolas
Bourbon, and a portrait of Nicholas Poyns the younger; but there
are so few examples which can be definitely given to these two years
that the writer hazards the conjecture that for a part of the time
Holbein was out of England. Throughout his too short career the
painter seems never to have severed his connection with Basel, nor to
have broken the friendly relationships which existed between him and
its Council. He remained a citizen of his adopted city, and apparently
retained his membership of the Painters' Guild, until his death. To
do so he must have paid some heed to the somewhat strict laws as to
the duties of citizenship then in force. The customary leave of absence
was about two years, and Holbein may well have returned to Basel
more often than is generally supposed. He did not accede to the
Council's request contained in their letter of September 2nd, 1532, but
at the end of two years, in the summer of 1534, he may possibly have
paid a visit of some duration to Switzerland, returning to England in
the summer or autumn of 1535. This is only conjecture, for there
is no evidence of his presence in Basel during that period, but it would
account for the lack of English portraits of that date, and would also
help to explain the fact — in some ways inexplicable — that he did not
enter the service of the royal house of England until about 1536.
Against this assumption it must be noted that when he paid his well-
known visit to Basel in September 1538 he was feasted and feted by
his fellow-citizens in a way which seems to indicate that he had been
absent for a longer period than three years. Still, it is not impossible that
he was there in 1534-5, and that he even paid a final visit home, about
the winter of 1540-41, before his death in 1543, in this way retaining
until the end his citizenship and the pension paid by the Basel
authorities to his wife.
The wonderful portrait of Morette in the Dresden Gallery (PI. 12) 2
must certainly have been painted during the period under discussion.
Charles de Solier, Sieur de Morette, a well-known French diplomatist
and fighting man of his day, who had paid more than one earlier visit
to England, in each case of short duration, arrived in London as French
1 See p. 225.
2 Woltmann, 145. Reproduced by Davies, p. 156; Knackfuss, fig. 128 ; Ganz, Holbein, p. 116.
64 PORTRAITS OF 1 533-1 536
resident ambassador in place of Castillon, on Good Friday, April 3rd,
1534, and returned to France on July 26th, 1535. This was his last
and longest sojourn in this country, and Holbein must have painted
him between these two dates. Even though the painter may have
paid a visit to Basel as suggested, it would still leave ample time for
the portrait to have been taken in the summer of either year. Prob-
ably Holbein's introduction to Morette was brought about through
the good offices of Jean de Dinteville. Though the Bailly of Troyes
had left England in the previous November, Morette may have seen
the " Ambassadors " picture in France in the interval, or have heard
of it from Castillon, who succeeded Dinteville in London. In any
case, Morette, who was one of the special ambassadors who came over
for the signing of the treaty in the spring of 1528, was acquainted with
at least one work of Holbein, the " Battle of Spurs," in the temporary
banqueting-hall at Greenwich, to which the King had drawn the
particular notice of the envoys.
The first known reference to the portrait of Morette occurs in the
correspondence of Thomas Howard, Earl of Arundel and Surrey, the
great collector of Holbein's work, who employed friends and agents
on the Continent to hunt up and buy everything from his brush that
they could discover. He got together a remarkably fine series of
pictures and drawings by Holbein, which, on his death at Padua, 1646,
came into the possession of his widow, then residing in Holland. Upon
her decease in 1654, at Amsterdam, her youngest son, Lord Stafford,
who was living with her, propounded a nuncupative will in his own
favour, and began as quickly as he could to sell the pictures, which
it had been the intention of the Earl should become heirlooms, but
the deed had never been executed. The sale, however, was stopped
by other representatives of the Arundel family, and a lawsuit resulted.
Among the documents in connection with these proceedings was one
of very great interest, an inventory of the pictures and objects of art
in the possession of the Countess at the time of her death. The original
list, which was in Italian, and probably drawn up for the Earl in Padua,
has disappeared, but a copy of it has been recently discovered by Miss
Mary L. Cox in the Record Office. This valuable document was evi-
dently copied from the original by some clerk in Amsterdam ignorant
of the Italian language, for it is full of mistakes. The complete in-
ventory was published by Miss Cox, with an introduction by Mr.
si st/.j0! ,.II .joV
Vol. II., Plate 12
CHARLES DE SOLIER, SIEUR DE MORETTE
Royal Picture Gallery, Dresden
THE ARUNDEL COLLECTION 65
Lionel Cust, in the Burlington Magazine.1 From it we learn that
Lord Arundel possessed no less than forty-one works by or attributed
to Holbein, in addition to the drawings, which are not included in the
inventory. Among the portraits, some of which have been already
noted, were those of the Duchess of Milan, Jane Seymour, Anne of
Cleves, Edward VI, the Duke of Norfolk and his son the Earl of Surrey,
Sir Thomas Wyat, Cromwell, Erasmus, the Earl of Southampton,
Thomas and John Godsalve, Sir Edward Gage, Sir Henry and Lady
Guldeford, Archbishop Warham, Dr. John Chamber, Derich Born,
and Sir Thomas More and his family, as well as several unnamed por-
traits, to all of which reference will be found in these pages. Very
possibly some few of these pictures, such as the full-length of the Earl
of Surrey, were not by Holbein, though given to him in the list. Lord
Arundel also possessed several works which so far have not been traced,
though the titles may help towards their future rediscovery. Among
them is a portrait said to be of Holbein's wife, which is most probably
the picture at the Hague; 2 one of a lady " con gli mani giunti e un
agato atacato al beretino "; another of a lady, aged 40, with the in-
scription, " In all things, Lord, thy wilbe fulfilled "; the portrait of a
musician ; 3 one of an armed man, which may possibly be the portrait
of Sir Nicholas Carew ; the portrait of the goldsmith Hans of Zurich ; the
Death's-head and bones already referred to in speaking of Ambrosius
Holbein; a picture of gamblers or people playing games (" un quad-
retto con divers figure Jocatori, &c."); another with the title " Legge
Vecchio & Nove " (ancient and modern law); and the Arms of Eng-
land in water-colours. Before his relations could interfere Lord
Stafford had sold a number of pictures to the Spanish Ambassador in
London, to Eberhard Jabach, of Cologne, and to the agent of the Arch-
duke Leopold, and this may account for the fact that certain of them
remained abroad, such as the Jane Seymour and Dr. Chamber in
Vienna, and the Thomas and John Godsalve in Dresden.
In a letter from Turin, dated November 26th, 1628, from Sir Isaac
Wake to William Boswell, the former states: "The picture after
which you do seem to inquire was made by Hans Holbein in the time
of Henry VIII, and is of a Count of Moretta. My Lord of Arundel
1 Vol. xix., August and September 191 1, and vol. xx., January 1912, from which the above
facts are taken.
2 See Vol. i. p. 106. 3 See above, p. 52.
VOL. II. E
66 PORTRAITS OF 1533-1536
doth desire it, and if I can get it at any reasonable price he must and
shall have it." 1 The picture was evidently then in the market, under
the true names of both sitter and painter, but apparently the price was
too high, and so Arundel, who possessed the original drawing for it,
was not able to secure it. It was eventually bought by the Marquis
Massimiliano Montecucculi, ambassador of the house of Este at Parma
and Rome, and presented by him to the Duke Francesco d'Este, and
so passed into the Modena gallery. According to Venturi, the portrait
was at that time attributed by the Marquis Montecucculi to " Gio.
Olben." Some thirty years after the date of Wake's letter, Scannelli,
in his Microcosmo,2 describes, under the name of " Olbeno," a picture
in the Modena collection which can be no other than the " Morette."
He says: "There was also lately among ultramontane painters a
certain Olbeno, a highly qualified master, and in painting individual
portraits verily stupendous. It is true in his execution there is some-
thing of that native hardness which belongs to his country in other
respects; yet through his extreme diligence and truthful fidelity to
nature it shows a high degree of perfection. As we see, for example,
in the already noticed gallery of H.S.H. the Duke of Modena, where
there is a half-length portrait by him which in its exact imitation of
nature is quite wonderful."
At a later date the true name of the sitter appears to have become
lost. It has been suggested 3 that, owing to the similarity of the sound,
the name Morette was first changed to Morus, as the name of Sir Thomas
More would naturally suggest itself in connection with Holbein. In
Italy, Morus, again naturally, would become Moro, and so in course
of time the picture was said to represent Lodovico Sforza, familiarly
known as II Moro. There is no need, however, to bring in the name
of Sir Thomas More at all. The change must have been directly from
Morette to Maurus, which was Sforza's second name, from which his
popular nickname " II Moro " was taken.4 Holbein's name in con-
nection with the picture having been by this time forgotten, the title
" Maurus," combined with the beauty of the work, gave rise to the
supposition that it could only be from the hand of Sforza's great
1 For this and other letters see Sainsbury, Original Unpublished Papers, &c, 1859, Appendix^
Nos. 44, 53, 55, 57. See also Appendix (K).
2 Ed. 1657, vol. ii. p. 265. See also Vol. i. p. 306.
3 Wornum, p. 301, and Dresden Catalogue, 1884.
4 See Milan under the Sforza, by C. M. Ady, p. 124.
PORTRAIT OF MORETTE 67
countryman, Leonardo da Vinci ; and it was as a portrait of II Moro
by Leonardo that it was purchased by Augustus III, King of Poland
and Elector of Saxony, from the Duke Francesco of Este-Modena in
1746. It formed part of a collection of about one hundred pictures,
known as the " Modena Gallery," some of which are now among the
chief masterpieces of the Dresden Gallery, which, after long and
secret negotiations, the Elector procured for his own collection at the
cost of one hundred thousand sequins and very liberal largesse to
various agents and go-betweens. For the next hundred years it
remained at Dresden as a portrait of Lodovico and a masterpiece
by Da Vinci. Then Rumohr, the critic, pointed out that the style
and quality of the painting proved it to be an undoubted work by
Holbein, while at the same time Von Quandt produced evidence to
show that it did not represent II Moro, but a certain jeweller
employed by Henry VIII named Hubert Morett. The paper he con-
tributed to the Kunstblatt in 1846 was accompanied by a repro-
duction of Hollar's engraving of the original drawing of the picture,
upon which his case was based. This engraving is inscribed " Mr.
Morett " and " W. Hollar fecit, ex Collectione Arundeliana. A° 1647.
31 Dece." In spite of Rumohr's criticism, however, the picture con-
tinued to be described in the official catalogues as by Leonardo, the
authorities, it is said, objecting to the change of name, as in so doing
the collection would be robbed of its sole work by Da Vinci; and it
was not until the death of King Frederick Augustus that Holbein was
allowed to come into his own again. There was considerable opposi-
tion, too, to the change from II Moro to Mr. Morett, the goldsmith,
Hollar's engraving being a poor one, and not very much like the picture.
The title was not changed, nor was the final restitution made to Holbein
until i860, in which year Holbein's original drawing for the portrait
made its appearance in London, in the sale of Samuel Woodburne, the
art dealer, when it fetched £43, and was purchased immediately after-
wards for the Saxon Government by Herr L. Gruner, the director of
the Dresden Gallery.1 For the next twenty-five years the picture
was known as " Mr. Hubert Morett, goldsmith to Henry VIII," who
was considered by all writers to be an Englishman, his sumptuous
apparel, quite unlike the sober garments worn by jewellers in those
days, being explained away by a reference to the tradition that in the
1 Woltmann, 146. Reproduced by Wornum (photograph), p. 300.
68 PORTRAITS OF 1 533-1 536
sixteenth century all Englishmen, of whatever class of society, had a
passion for finery in dress.
As a matter of fact Hubert Morett was not an Englishman at all,
nor could he be rightly described as " goldsmith " to Henry VIII.
He was a Frenchman, one of several jewellers of Paris, who paid
periodical visits to London for the purpose of selling their wares to
the King and Court. Thus, in August 1536, in Gostwick's accounts, is
the entry: " Hubbert Morret, jeweller of Paris, for jewels bought by
the King £282, 6s. 8^.," 1 while in January 1532 he received 242 crowns,
or £56, 9s. 4d., for similar goods.2 Granger's statement that Morett
" did many curious works after Holbein's designs " has no foundation
in fact. Hollar's engraving3 simply calls the subject " Mr. Morett,"
though Parthey, in a second edition of his book, cites a second state
of the engraving, sold in 1844, with the added words, " Jeweller to
Henry VIII " ; no one, however, has so far succeeded in discovering
a proof of this state, and, in all probability, these words were merely
written on this particular proof by someone who had noted the refer-
ence to Morett in the Privy Purse Expenses of Henry VIII, published
by Nicolas in 1827. This, no doubt, was the source of the legend,
adopted at Dresden, that the picture represented a court jeweller.
It remained for a Swedish critic, M. S. Larpent, finally to re-estab-
lish the identity of the sitter as that Count of Moretta mentioned in
Wake's letter in the seventeenth century. In a pamphlet published
in Christiania in 1881, Sur le Portrait de Morett, he proved conclusively
that the Dresden picture represents Charles de Solier, Sieur de Morette.
M. Larpent drew attention to the fact that the drawing for the head
was once in the possession of Richardson, the painter, and that at his
sale in 1746 it was included in his catalogue as " One Holbein, sieur de
Moret, one of the French hostages in England," this, no doubt, being
the traditional title which had remained with the drawing since it
was in the Arundel collection. It has been suggested that Hollar's
engraving was done neither from the Dresden picture nor from the
drawing, as it shows considerable differences in the dress and details,
and is circular in shape, while the inscription is " Holbein pinxit "
not " delineavit," indicating that it was done from a painting and not
a drawing, and thus proving that the Earl of Arundel possessed another
1 C.L.P., vol. xi. 381.
2 C.L.P., vol. v., Privy Purse Expenses of Henry VIII, under January 1532.
3 Parthey, No. 1470.
PORTRAIT OF MORETTE 69
portrait of Morette, which has disappeared. In this connection Sir
Sidney Colvin draws attention to the print by Hollar of an unknown
man after a painting by Holbein formerly in the Earl of Arundel's
collection, which he thinks represents Jean de Dinteville.1 " Now,
this print of Hollar's," he says, "is an exact companion to his other
print from the ' Mr. Morett ' in the Arundel collection. Both are
small rounds, apparently taken from paintings of almost miniature
size, such as Holbein is in several instances known to have made of
persons who had also sat to him for full-sized portraits. I conclude
that he had painted two such companion miniatures, besides his larger
pictures, of the two successive French envoys, Dinteville and Morette,
and that both came into the possession of the Earl of Arundel." 2
The identity of the sitter was established beyond all possibility
of doubt in 1903 by the late Mr. Max Rosenheim's discovery of a fine
contemporary medallion portrait of the same personage, carved in box-
wood, with his name and titles in full, and on the back his device of a
seaport, a horse, and a dolphin.3 Charles de Solier was born in 1480,
and was fifty-four years old when resident ambassador in England
in 1534, the year in which Holbein painted him. He represented
him life-size and half-length, standing facing the spectator, dressed
in a doublet of black satin, the sleeves of which, from the elbow down-
wards, are slashed with white silk. His surcoat is of the same black
material, with a heavy collar and lining of fur. Both dress and black
cap are decorated with gold tags, and in the latter he wears a circular
gold enseigne with a figure of Fortune. Round his neck hangs a gold
chain to which is suspended a medallion or watch-case of openwork.
In his right hand he holds a glove, and his left, which is gloved, grasps
the gilt and elaborately chased sheath of a dagger, suspended from his
girdle by a chain with a large tassel, such as the one worn by Dinte-
ville. His long beard of a reddish colour is touched here and there
with grey. The background consists of a curtain of green damask.
It is about 3 ft. 1 in. high by 2 ft. 6| in. wide.
Holbein's art, both in the subtle insight it displays into character
and in its technical achievement, is seen in its highest manifestation
1 This is the print, already mentioned (see p. 44), in connection with the fine Windsor
drawing to which Miss Hervey first drew attention as a possible likeness of Dinteville.
2 In a letter to The Times, nth September 1890.
3 See Burlington Magazine, vol. ii., August 1903, p. 369. The medallion is in the Salting
Collection, and the costume is the same as in the picture. The inscription runs : " Carolvs • DE •
SOLARIO • DNS • MORETY • ANNO • AGENS • L."
7o PORTRAITS OF 1 533-1 536
in this superb and nobly-dignified portrait, which bears the stamp of
truth in every touch. The handling is both brilliant and delicate in
all the accessories, in the fine modelling of the flesh, and in the wonder-
ful draughtsmanship of the right hand grasping the glove. As a like-
ness of a living man and as an expression of the most intimate traits
of his character, it holds its own with any piece of portraiture in the
world, and is, indeed, complete in every respect, displaying the finest
taste in conception combined with consummate skill and unerring
accuracy in execution, and most harmonious colour. The original
study for it, which, no doubt, once formed a part of the Windsor col-
lection, and now hangs by the side of the picture in Dresden, is
unsurpassed for its truth and force, and the subtlety with which the
likeness is expressed by the simplest means, eye and hand acting in
perfect accord and allowing nothing essential to escape them.
The two small roundels, about six inches in diameter, portraits of
a man, probably an Englishman, and his wife, in the Vienna Gallery 1
(Nos. 1482, 1484), formerly in the Schloss Ambras collection, are dated
1534. They are fine works, almost in miniature, though they do not
show Holbein at his highest point of achievement. The man, who has
a dark brown beard, wears a black cap and a scarlet surcoat on which
the letters H. & R. are embroidered in black and gold, indicating
that he was in the service of Henry VIII. Across the background
is inscribed: " etatis sv^e 30. anno 1534." The woman, of a very
homely type of face, is wearing a dark brown and black dress, and a
white head-dress, which hides her hair and falls on her shoulders in
the form of a cape. This head-dress is identical with the one worn
by the unknown lady in the Windsor collection (Holmes No. 10),
which Sir Richard Holmes thought might be a portrait of " Mother
Jack," nurse to Edward VI. It is inscribed: " etatis sv<e 28. anno
1534." Both portraits have now a very dark blue-green background
with a small circular ring of gold round the outer edge. The two are
evidently husband and wife, and the latter has more the appearance
of a German than an Englishwoman. It may be suggested, therefore,
though with diffidence, that it is not impossible that these two small
portraits represent Susanna Hornebolt and her husband, John
Parker, the King's bowman and a yeoman of the robes. Diirer speaks
1 Woltmann, 256, 257. Reproduced in Magazine of Art, March 1897, p. 279; Masterpieces
of Holbein (Gowan's Art Books, No. 13), pp. 46, 47 ; Ganz, Holbein, p. 105.
ROUNDELS OF ENGLISHMAN AND WIFE 71
of Susanna as being " about eighteen " in 1521, which does not quite
tally with the age of the sitter in the Vienna roundel, who was twenty-
eight in 1834, but it is again not impossible that Durer imagined the
young lady to be two or three years older than she was in reality.
Dr. Ganz draws attention to the close likeness between this portrait
and the one of an unknown man, also a small roundel, in the possession
of Herr F. Engel-Gros, at Chateau de Ripaille near Thonon,1 which he
reproduces for the first time. The sitter is clean-shaven, facing three-
quarters to the right, with a small flat red cap, elaborate black and white
Spanish work on his shirt collar, and a red livery coat, lined with blue,
with black bands and the initials " H. R." embroidered on it. He
considers him to be either a Netherlander or a German, and suggests
that he was possibly a painter in Henry VIII's service. It may be
permitted to go a step further and to suggest that we have here a por-
trait of Susanna's brother, Lucas Hornebolt. It was first exhibited
in Basel in 1891, and nothing of its earlier history is known. It bears
no signature or date, but is evidently of the same period as the two
Vienna roundels. There is an excellent old copy on copper of this
roundel in the Fitzwilliam Museum, Cambridge (No. 537) ,2 in which,
however, the cap and coat are black, while no trace of the royal
initials on the latter can be discerned.
Among the Windsor drawings there are three, two of them very
fine, which represent members of the Poyns or Poyntz family — John
Poyns,3 of North Wokendon, Essex, a member of the royal household
and one of Wyat's most intimate friends, in which the face is almost
in profile to the right, with the eyes turned upwards, and a small round
black cap which only covers the hair in part; and two of Nicholas
Poyntz, of the Gloucestershire branch of the family.4 Both are in-
scribed " N. Poines Knight," and they are generally regarded as por-
traits of a father and son, and are described as Sir Nicholas Poyntz
the Elder, and Sir Nicholas Poyntz the Younger. In the one he is
1 Reproduced by Ganz, Holbein, p. 115. Purchased by the present owner in Paris.
2 Reproduced in F. R. Earp's Descriptive Catalogue of the Pictures in the Fitzwilliam Museum,
1902, and in The Principal Pictures in the Fitzwilliam Museum, Gowans & Gray, Ltd.,
1913, p. 86.
3 Woltmann, 301 ; Wornum, i. 9 ; Holmes, i. 47. Reproduced by Davies, p. 220 ; and in
Drawings of Hans Holbein (Newnes), PI. xx. A fine head of "John Poines," on a reddish
ground, was in the recently dispersed collection of Mr. J. P. Heseltine.
4 Woltmann, 299, 300; Wornum, i. 19, 36 ; Holmes, i. 37, ii. 26; reproduced in Drawings of
Hans Holbein, PI. xxii. xxv.
72 PORTRAITS OF 1533-1536
represented almost full-face, with beard and bare head, a free drawing
without the black lines, and somewhat rubbed. The other is a small
head in profile to the left, with a short beard and moustache, wearing
a round cap with white feather, and a gold chain on his shoulders.
There seems to be no great difference between the ages of the two, and
as Nicholas Poyntz's father was named Anthony, probably the in-
scription on the first-named drawing is incorrect, and the sitter is not
a member of this family. There are various portraits based upon the
second drawing, all apparently contemporary copies of a lost original.1
One of them was lent by the Marquis of Bristol to the Tudor Ex-
hibition, 1890 (No. 79). It is a life-size portrait, half-length, in a black
dress, on panel, 24 x 17 in. Another is described by Woltmann, who
saw it in the possession of the Marquis de la Rosiere in Paris.2 It was
photographed by Braun, but since then has disappeared. It agrees
with the drawing and Lord Bristol's picture. Both are inscribed on
the right-hand side of the blue background : — " etatis sv^e 25.
anno 1535," and above, a three-lined French motto — " ie obais
A QVI IE DOIS. IE SERS A QVI ME PLAIST. ET SVIS A QVI ME
merite." Woltmann regarded the Paris example as a fine and
genuine work by Holbein,3 but it is only an old copy. There is another
in the possession of Lord Spencer at Althorp. Wornum notes a minia-
ture on vellum, with a plain blue background, then in the possession
of Mr. R. S. Holford, of Dorchester House, which corresponds with the
Windsor drawing.4 Sir Nicholas Poyntz was the eldest son of Anthony
Poyntz, of Iron Acton, Gloucestershire, and Elizabeth, daughter and
heir of William Hudson, of Devonshire. He does not appear to have
held any office in connection with the Court. He married Joan,
daughter of Thomas, Lord Berkeley, and died in 1557.
Another portrait painted by Holbein in 1535 was that of the French
poet, Nicolas Bourbon de Vandoeuvre, who was in England during
that year. Bourbon was court-poet to Francis I, but eventually fell
into disgrace owing to certain passages in his poems. In 1534 he was
thrown into prison, from which he was finally released through the
intervention of Henry VIII, whose interest in him had been aroused
both by Anne Boleyn, who had made his acquaintance during her
1 This original is in Lord Harrowby's collection. See Appendix (K).
2 Woltmann, 239. Reproduced by Ganz, Holbein, p. 217. There was a portrait of the
" Cavaglier Points " in the Arundel Collection. 3 Woltmann, i. pp. 408-9.
* Wornum, p. 404. It was included in the Exhibition of Miniatures held at South Kensington
in 1865, No. 763.
PORTRAIT OF NICOLAS BOURBON 73
residence at the French Court in her younger days, and also by Henry's
physician, Dr. Butts. To show his gratitude he came over to England
in 1535, and found plenty of employment in court circles as an instructor
of youth. He returned to France in 1536, leaving many friends behind
him. While in London he appears to have lodged with Cornelis
Hayes, one of the chief goldsmiths employed by the King. Among
his more intimate friends were Kratzer and Holbein, as may be gathered
from a letter which he wrote after his return to France to Thomas
Solimar, the King's secretary, in which he says: — " I have yet to beg
you to greet in my name as heartily as you can all with whom you know
me connected by intercourse and friendship: Mr. Thomas Cranmer,
the Archbishop of Canterbury . . . Mr. Cornelius Heyss, my host,
the King's goldsmith; Mr. Nicolaus Kratzer, the King's astronomer,
a man who is brimful of wit, jest, and humorous fancies; and Mr.
Hans, the royal painter, the Apelles of our time. I wish them from my
heart all joy and happiness! " l
Bourbon held Holbein's art in the greatest admiration, and more
than one reference to it, couched in terms of high praise, appears in
his printed works. The original study for the portrait Holbein painted
of him is among the Windsor drawings,2 but the picture itself has dis-
appeared. In the sketch he is represented turned to the left, with a
pen in his hand, as though in the act of composing. He has a small
beard, and wears a black cap over his long hair, and looks thoughtfully
in front of him, the right arm and hand being only roughly indicated.
It is inscribed " Nicholas Borbonius Poeta," and is a fine drawing,
in excellent condition, but some doubts have been expressed as to
whether it really represents the poet. Bourbon was delighted with the
portrait Holbein painted of him, and sings its praises in an epigram on
the " incomparable painter " Hans Holbein, which he published in his
Nugae. It runs :
" Dam divina meos vultus mens exprimit Hansi,
Per tabulam docta prsecipitante manu,
Ipsum et ego interea sic uno carmine pinxi :
Hansus me pingens major Apelle fuit."
(" While the divine genius of Hans immortalises my features, tracing them on the panel
with skilful hand, I also have painted him thus in verse ; Hans, thus painting me, was
greater than Apelles.")
1 Quoted by Woltmann, i. p. 404.
2 Woltmann, 311 ; Wornum, i. 30; Holmes, i. 54. Reproduced by Knackfuss, fig. 123 ;
Drawings of Hans Holbein, PI. xxxv.
74 PORTRAITS OF 1533-1536
Holbein made a smaller drawing of the portrait, which was pro-
duced as a woodcut for the 1538 edition of Bourbon's poems, the
Nugae. In this also the poet is engaged in writing, but the posi-
tion is reversed. It is inscribed " Nic. Borbonius Vandop. Anno
Aetatis xxxn. 1535." The portrait is circular, within a square,
the corners being filled in with Renaissance ornament, and below two
naked boys supporting a shield with Bourbon's coat of arms, a swan
surmounted by a cross. On the last page is printed the following:
"In Imaginem Svi.
Corporis effigiem pictor saepe exprimit arte :
Forma animi nulla pingier arte potest.
Corpora corporeo mortalia lumine cernis,
O homo : noto Deus pectora solus habet."
Both his friendship for Holbein and his admiration for his art find
expression in a further poem or epigram printed in the Nugae,
headed " In picturam Hansi regii apud Britannos pictoris et amici."
The verses describe a miniature painting by Holbein :
" Sopitum in tabula puerum meus Hansus eburna
Pinxerat, et specie qua requiescit Amor :
Ut vidi, obstupui, Chaerintumque esse putavi,
Quo mihi res non est pectore chara magis
Accessi propius, mox saevis ignibus arsi ;
Osculaque ut coepi figere, nemo fuit."
(My Hans has painted on an ivory panel a slumbering boy, looking like a reposing
Cupid; I see him, I am astonished, I regard him as Charintus, whom my heart loves most
warmly ; I approach burning with passion, yet as I kiss him, it is only a semblance.)
All traces of this miniature, which Bourbon extols so highly, have
disappeared. Two other laudatory references to Holbein occur in
the Nugae. In the 1538 edition, which was published in Lyon in
the same year as the " Dance of Death " cuts and the Old Testament
illustrations, the following lines have reference to the former designs :
" De morte picta a Hanso pictore nobili.
Dum mortis Hansus pictor imaginem exprimit,
Tanta arte mortem retulit, ut mors vivere
Videatur ipsa : et ipse se immortalibus
Parem Diis fecerit operis huius gloria."
(On the picture of Death by the noble painter Hans.
Painter Hans has expressed the image of Death with so much art, that Death himself now
seems a living being, and he by the glory of his work has made himself the compeer of the
immortal gods.)
NICOLAS BOURBON AND HOLBEIN 75
These verses read as though they were written to accompany the
first edition of the " Dance of Death " woodcuts, but for some reason
were never used. They are interesting, too, as containing the only
contemporary reference to Holbein as the actual designer of the series.
In the same edition occur the following lines :
" Videre qui vult Parrhasium cum Zeuxide,
Accersat a Britannia
Hansum Ulbium et Georgium Reperdium
Lugduno ab urbe Galliae."
which may be paraphrased as — " Whoever wishes to see the painter
equal to Parrhasius or Zeuxis must call Hans Holbein from England
and Georgius Reperdius from the French town of Lyon." Reperdius
was the Italian engraver Reverdino, about whom little is known,
except that much of his engraved work was after Primaticcio. The
latter was working at Fontainebleau at this period, and, if Bourbon is
to be believed, Reperdius was settled in Lyon, where the poet prob-
ably met him when visiting that town for the purpose of making
arrangements for the republishing of his Nugae.
For the second edition of the " Old Testament " illustrations,
published in 1539, Bourbon furnished, as already noted,1 a Latin poem
in which Holbein, as the designer of the woodcuts, is compared with
and placed above the greatest painters of antiquity. It describes a
scene in Elysium, in which the three great Greek painters, Apelles,
Zeuxis and Parrhasius appear:
" Nuper in Elysio cum forte erraret Apelles
Una aderat Zeuxis, Parrhasiusque comes."
Apelles breaks forth into a lament over the eclipse of their fame brought
about by Holbein, and exclaims:
" Holbius est homini nomen, qui nomina nostra
Obscura ex claris ac prope nulla facit."
The verses are too long for quotation. Bourbon has added to them
a Greek distich, with its translation into Latin :
"Cernere vis, hospes, simulacra simillima vivis?
Hoc opus Holbinae nobile cerne manus."
No other portrait by Holbein can be definitely attributed to the
year 1535. It was in this year that he lost two of his first English
1 See Vol. i. p. 227.
76 PORTRAITS OF 1533-1536
patrons, and both on the scaffold — Sir Thomas More and Bishop
Fisher, and his distress must have been keen, more particularly over
the death of the former, who had done so much for him when he first
arrived in London, a practically unknown foreign painter, with no
knowledge of the English language. One other work of his, however,
the design for the title-page of Coverdale's Bible, in the publication of
which Thomas Cromwell was greatly interested, was issued in this
year, and possibly it was he who placed the commission in Holbein's
hands. It is interesting to note that Holbein, who illustrated the
first translations of the Bible into German in Switzerland, also supplied
a design for its first complete rendering into English, which was pub-
lished under the title of " Biblia. The Bible, that is, the holy Scripture
of the Olde and New Testament, faithfully and truly translated out
of Douche and Latyn in to Englishe, m.d.xxv." This fine folio was
printed in Zurich by Froschover, and no doubt Holbein's title-page1
(PI. 13) was also cut abroad, for there was no one in England at
that time capable of producing so excellent an engraving. The design
is divided into six little pictures which surround the title. The one
across the top contains the Fall and the Redemption; on the left
Adam and Eve stand under the Tree, and on the right Christ rises
from the tomb, triumphant over Death and Hell. On the left-hand
side of the page Moses is shown on Mount Sinai receiving the Tables of
the Law, and beneath him is a representation of Ezra reading the
Old Law to the Jews on their return from the Captivity. On the
opposite side, in the upper picture, Christ is sending forth His disciples
into the world to preach the gospel, and in the lower Paul is seen
preaching. In the panel across the bottom of the page Henry VIII
is seated on his throne under a canopy, with a sword of state in one
hand and a Bible in the other, which he presents to the high dignitaries
of the Church and the nobles of his Court, who kneel below him. On
either side within arched niches are the figures of King David playing
the harp, and the Apostle Paul. The King is represented with a beard,
which became the fashion in the year Coverdale's Bible was published,
but in facial likeness there is little resemblance to Henry, due, possibly,
to the fact that the block was cut in Switzerland. The design, as a
whole, is a particularly fine and effective one, and has not suffered
to any great extent from the cutting, which is good, though not
1 Woltmann, 237. Reproduced by Woltmann, i. dedication ; Davies, p. 192.
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Vol. II., Plate 13
TITLE-PAGE OF COVERDALE'S BIBLE
1535
From a copy in the British Museum
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DESIGNS FOR WOODCUTS 77
the handiwork of a Liitzelburger. Certain of the figures are of great
beauty, in particular those of the risen Christ, the Adam and Eve,
and the Paul. The resemblance, in facial type and movements,
between the figure of the Saviour sending forth His disciples to
preach and the Christ in the "Noli me Tangere " picture at
Hampton Court, has been already noted.1
The few designs which Holbein made for woodcuts while in England
appear to have been all done at about this time, when the abuses of
the Church were being attacked most severely and the monasteries
were being swept away ; though some of them were not actually pub-
lished until some years later. In them Holbein, just as he had done
in his woodcuts produced in Basel, in no way attempts to disguise his
adherence to the reformed religion. This feeling was shown very
strongly in a series of twenty-two small satirical drawings of the
Passion which appear to have been preserved in a little book, now
unfortunately lost. At one time it was in the possession of the Earl
of Arundel, and was shown by him to Sandrart as a work of Holbein's.
The latter mentions it in his Teutsche Akademie, stating that each sheet
was full of little figures of every kind, that of the Redeemer always
appearing under the form of a monk attired in black. Sixteen of these
designs were engraved in the seventeenth century, no doubt while in
the Arundel collection, and most probably by Hollar, though they are
unsigned and have not the customary " Ex Collec. Arundell: " beneath
them. In them " the enemies of Christ are represented in the dress
of monks and friars, and instead of weapons they bear croziers, large
candlesticks, and other church ornaments; Judas appears as a capucin,
Annas as a cardinal, and Caiaphas as a bishop. In the subject of
Christ's Descent to Hades the gates are hung with papal bulls and
dispensations; above them are the Pope's arms, and the devil as keeper
of the gate wears a triple crown." 2
Woltmann describes a second title-page, very finely cut, which he
considers to have been produced during Holbein's sojourn in England.
So far it has not been discovered in any published book, but there is
a fine proof of it in the Munich Print Room. On either side stand St.
Peter and St. Paul, the latter pointing upwards, two tall slender figures.
1 See Vol. i. p. 97.
2 Chatto, Treatise on Wood Engraving, p. 378, note. Described more fully by Woltmann, i.
395-7. See also Walpole, Anecdotes, ed. Wornum, i. p. 98.
78 PORTRAITS OF 1 533-1 536
They appear as pillars of the church, and are represented as supporting
the blank title itself, which is in the form of a paper scroll. In an arch
above is Christ risen from the Tomb, trampling upon Death and Satan,
and below are the arms of Henry VIII supported by two heraldic
beasts.1
Something of the same satirical feeling shown in the lost drawings
of the Passion is to be seen in two or three small woodcuts of this period,
which, from the inferiority of the cutting, were very probably pro-
duced in England. Two of them appeared among the twenty-six
little cuts in Cranmer's Catechism, a small octavo volume published
in 1548, the full title being, " Catechismus, that is to say, a shorte
instruction into Christian religion for the singular commoditie and pro-
fyte of childre and yong people. Set forth by the mooste reverende
father in God, Thomas Archbyshop of Canterbury, primate of all
Englande and Metropolitane. — Gualterus Lynne excudebat, 1548."
The first of Holbein's two small pictures (folio CL) represents the par-
able of the Pharisee and the Publican,2 the scene taking place in a
church, with the Pharisee as a monk, kneeling at an altar, whom Christ
points out to His disciples, while the Publican stands with head bent
in front of them. On the edge of a book on the altar steps are the
initials " H. H." The subject of the second cut (folio CCI) is Christ
casting out the Devil from the possessed man,3 which, in spite of the
unsatisfactory cutting, is very dramatic and retains much of the
beauty and individuality of Holbein's design. The Pharisees and
others who stand behind are represented as bishops, monks and
priests. It is signed in full " hans holben." A third woodcut, very
similar to these, but still more feeble in execution, represents Christ
as the Good Shepherd,4 surrounded by His disciples, and pointing to
the " hired servant," here again dressed as a monk, who is flying
before the wolf which scatters his frightened flock. This also is
signed in full H hans holbein." It appears in a small English
pamphlet, " A lytle treatise after the manner of an Epystle,
wry ten by the famous clerk Doctor Vrbanus Regius," which was
1 Woltmann, 238.
2 Woltmann, 198. Reproduced by Chatto, p. 380 ; and in Hans Holbein (Great Engravers
Series), ed. A. M. Hind.
3 Woltmann, 199. Reproduced by Woltmann, i. p. 391 ; Chatto, p. 381 ; Wornum, p. 191 ;
and in Hans Holbein (Great Engravers Series), ed. A. M. Hind.
4 Woltmann, 200. Reproduced by Woltmann, i. p. 399.
PORTRAIT OF SIR THOMAS WYAT 79
also published by Walter Lynne, in the same year, 1548, as the
Catechism.
A third, and more important, publication of 1548, Hall's Chronicle,
contains a large folio woodcut representing King Henry VIII in Council,1
which Woltmann regarded as undoubtedly of Holbein's design. The
scene takes place in a magnificent chamber hung with tapestries, with
the King, his legs apart in his characteristic attitude, seated on a
throne beneath a baldachin bearing his arms. He is surrounded by
his councillors, twenty-seven in number, some listening, others lost
in thought, and others again whispering among themselves. The
cutting is excellent, and was probably done in Switzerland. The
socle with the framework enclosing the inscription " King Henry
the eyght," and the two supporting sirens, are almost identical with
the socle and supports in the beautiful woodcut of Erasmus with the
figure of Terminus already described. These, with the small portraits
of Wyat and Bourbon, and the " Charitas " device for Reinhold
Wolfe, constitute almost the whole of Holbein's work as a book-
illustrator while in England.
There are several undated portraits and studies for portraits which
must have been produced between the years 1535 and 1537, among
them the likeness of Sir Thomas Wyat, the famous poet and courtier,
whose father, Sir Henry Wyat, had been painted by Holbein during
his first English visit. Wyat was about the Court during the period
under discussion ; a few years later he was often absent from England
on foreign embassies. There is a study for his portrait among the
Windsor drawings (PL 14) 2 which is one of the finest in the collection,
though considerably rubbed and stained, and also a good, possibly con-
temporary, copy.3 He is represented nearly full-face, wearing a cap,
and with a long flowing beard, both hair and beard being modelled
with the brush. The portrait which must have been painted from this
singularly attractive study is not now known to exist; a small paint-
ing in oils corresponding to the drawing, but not by Holbein, was ex-
hibited by Mr. Bruce at the National Portrait Exhibition in 1866. A
second portrait of Sir Thomas was drawn by Holbein at a somewhat
later date, which was reproduced as a woodcut, shortly after the poet's
1 Woltmann, 210. Reproduced by Dibdin, Typographical Antiquities, vol. iii. It bears the
engraver's initials, " I. F.," possibly Faber.
2 Woltmann, 289; Wornum, i. 18 ; Holmes, i. 32. Reproduced by Knackfuss fig. 139, and
elsewhere. 3 Woltmann, 290 ; Wornum, i. 40; Holmes, not numbered.
8o PORTRAITS OF 1533-1536
death, in the little book entitled Ncenice in Mortem T homes Viati
Equitis Incomparabilis, written by John Leland, the antiquary, in
honour of his memory, and published in 1542. The portrait,1 which
is a small roundel in the style of the circular portraits in wax or box-
wood which were at that time much in vogue, may have been drawn
by Holbein himself on the block. The engraving itself is somewhat
crudely done, but was, no doubt, the best that could be procured at
that time in London; yet in spite of its roughness the little portrait
is a true likeness, full of character, such as no one in England but
Holbein could have produced. Wyat is represented almost in profile
to the right, with a long beard and a high bare forehead, bearing out
Leland's description in his panegyric that " nature had given the youth
dark auburn hair, but this gradually disappeared and left him bald,
but the thick forest of his flowing beard increased more and more."
The neck is bare, and bounded by a slight drapery in the classical
manner, giving it the appearance of a medallion. Underneath the
woodcut, which is printed on the reverse of the title, are the following
lines in praise of both painter and poet:
" In Effigiem Thotnce Viati.
" Holbenus nitida pingendi Maximus arte
Effigiem expressit graphice ; sed nullus Apelles
Exprimet ingenium felix animumque Viati."
(Holbein, the greatest in the magnificent art of painting, has sketched this portrait, yet
no Apelles can express in painting Wyat's mind and happy genius.)
The drawing, no doubt, was made by Holbein on purpose for the
book, but whether it was an original study from memory, or was based
on a portrait of Wyat he had painted some little time previously, is
uncertain. Several circular oil paintings exist which are either founded
upon the NcenicB woodcut, or are contemporary copies of a portrait
by Holbein which cannot now be traced. The latter is the more prob-
able supposition, as in all the paintings the head is turned to the left,
whereas in the woodcut it faces to the right, not having been reversed
when drawn on the block. One of these versions, formerly in the
collection of the Marquis of Hastings, who lent it to the National
Portrait Exhibition, 1866, is now in the National Portrait Gallery
(No. 1035) ; - a second, apparently a copy from the former, is in the
1 Woltmann, 209 ; reproduced by him, i. 364.
2 Reproduced in Mr. Cust's illustrated catalogue of National Portrait Gallery, vol. i. p. 20.
M *taj<I ,.H pJoV
TAYW 8AM0HT <AV>.
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Vol. II., Plate 14
SIR THOMAS WYAT
Drawing in black and coloured chalks
Windsor Castle
'
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TitorYftattJKjaiglrt!.
PORTRAIT OF SIR THOMAS WYAT 81
Bodleian Library at Oxford. This latter was in the Tudor Exhibition,
1890 (No. 169), the Oxford Exhibition of Historical Portraits, 1904
(No. 24), and the Burlington Fine Arts Club Exhibition, 1909 (No. 50).
It is a bust, three-quarters to left, with dark hair, beard, and mous-
tache, and bald forehead, red drapery round the shoulders, and a plain
brown background; and is inscribed " syrthomas-wyat." A smaller
circular portrait, also on an oak panel, belonging to the Countess of
Romney, showing Wyat in the same position, but dressed in the costume
of his day, with a black coat lined with white fur, is attributed to Lucas
Cornelisz.1 It is inscribed, " Sir Thomas Wiat. B.1503. D.1541.
Lucas Cornelii," but this is of a later period than the painting, and
the date of Wyat's death is given wrongly. The head is in the same
position as in the Ncenice woodcut. On the back of this portrait was
at one time another panel, which now hangs by it in Lady Romney' s
collection, representing Wyat's " Maze," and painted as a record of
an amusing incident in his diplomatic mission to Italy in 1527. In
the centre of the maze is shown a falling centaur with the Pope's triple
crown on his head. There was a portrait of a Wyat in the Arundel
collection (il ritratto del Cavaglier Wyat), but whether this was one of
Sir Thomas, or the one of his father, now in the Louvre, is uncertain.
There are two very similar circular portraits in existence of Wyat's
son, Sir Thomas Wyat, the younger, which bear so strong a likeness to
the portraits of his father that at first sight they appear to have been
painted from the same original. One of them was lent to the Burling-
ton Fine Arts Club, 1909 (No. 48), by the Rt. Hon. Lewis Fry, and the
other belongs to Lady Romney.2 He is shown in profile, to the left,
looking upwards, the neck cut off at the beginning of the shoulders, as in
the portraits of his father, and wearing a slight, light brown moustache,
pointed beard, and short hair. Lady Romney's version is of the same
size as the Cornelisz portrait, while Mr. Fry's more nearly approaches
that of the National Portrait Gallery and Oxford portraits of his father.
Mr. Fry's panel was once in the collection of Charles I, having his
brand on the back, and it is possibly the portrait which was in the
possession of John, Lord Lumley, in 1590. The " classical " treatment
followed in the cutting short of the bare neck has led to the erroneous
1 Reproduced in Burlington Magazine, vol. xvi., December 1909, p. 155.
2 Both reproduced in Burlington Magazine, vol. xvi., December 1909, p. 158 ; and the former
in the illustrated edition of the Exhibition Catalogue, PI. xvi.
VOL. II. F
82 PORTRAITS OF 1533-1536
supposition that the portrait has reference to Wyat's decapitation in
1554 for rebellion against Queen Mary. It is possible that these
portraits of the younger Wyat are based on a lost original by Holbein.
He was born in 152 1, so that he would have been twenty- two at the
time of Holbein's death. Mr. Roger E. Fry sees in Mr. Lewis Fry's
version a predominant Flemish influence. " It remains," he says,
" one of the most inscrutable riddles of the exhibition. It is a work
of such great technical excellence that its authorship ought to be dis-
coverable. It seems probable that it was painted in England and
from life."1
The very interesting and beautiful portrait of a lady lent by Major
Charles Palmer to the Royal Academy Winter Exhibition, 1907 (No .13),
and to the Burlington Fine Arts Club, 1909 (No. 64) (PI. 15),2 is now
identified, with some degree of certainty, as a portrait of Sir Thomas
Wyat the elder's sister, Margaret Wyat, Lady Lee. This identifica-
tion is based upon an enlarged version of the portrait in the possession
of Viscount Dillon at Ditchley, Oxfordshire, which, according to family
tradition, is said to represent that lady, who was the wife of Sir Anthony
Lee, and the mother of Sir Henry Lee, K.G. She is shown at three-
quarters length, three-quarters to the left. Her hair, of reddish gold,
is almost hidden by her black and white French hood decorated with
a band of pearls arranged in groups of four, alternating with small
panels of gold filigree work. Her dress is of dark brown damask,
puffed at the shoulders, and ornamented with numerous gold tags or
points, and a rose-coloured petticoat. Her hands are clasped in front
of her, and she holds by a short ribbon a circular gold medallion on
which is a figure of Lucrece above a dark oblong stone. On her right
hand are two signet rings, one with a red and one with a dark stone.
The dress, open at the neck, shows a white collar or lining, and white
ruffles cover her wrists. A rose in red enamel is at her breast, and a
gold chain round her neck. Across the plain dark green background
is inscribed, " etatis-sv^e-34." It is on panel, 16^ in. x 12^ in. Her
long, very sharp nose resembles that of her brother, and her com-
plexion is of a somewhat unpleasant reddish tone. The drawing of
the face, and particularly of the hands, is very delicate. It is now in
the Collection of Mr. Benjamin Altman, New York.
1 Burlington Magazine, vol. xv., May 1909, p. 75.
8 Reproduced in Burlington Magazine, vol. xv., June 1909, frontispiece ; illustrated catalogue
of Burlington Fine Arts Club Exhibition, PI. xxii. ; and Ganz, Holbein, p. 143.
gj HTAJri rII
Vll WOH (X3MJA1
Vol. II., Plate 15
PORTRAIT OF A LADY
(Probably Margaret Wyat, Lady Lee)
Until recently in the Collection of Major Charles Palmer, now in
that of Mr. Benjamin Altman, New York
■
PORTRAIT OF MARGARET WY AT, LADY LEE 8 3
Opinion, so far, is divided as to whether this fine work is by Holbein
or not. The first impression received is that it is certainly not by him,
from the flatness of the modelling of the face, a certain hardness in
the execution, and the rather unpleasant red tone of the complexion;
but further examination considerably modifies this opinion. It is
difficult, if the attribution to Holbein is rejected, to suggest the name
of any other artist then practising in England, who possessed the ability
to produce a portrait as fine and as remarkable as this one is. To
Sir Martin Conway " it appears to be obviously and all over Holbein." 1
Mr. Roger E. Fry says that " opinion is so divided that it would be
rash to dogmatize. The picture is in wonderful condition and is en-
tirely in Holbein's manner. Indeed, it must in any case be derived
directly from a drawing by Holbein. The only question to be settled
is whether the master himself ever became so entirely the craftsman
absorbed in the technical perfection of his work to the exclusion of the
larger issues of expression; whether he could have ever so far lost his
sense of relief, treated line so entirely as a matter of edge with so little
sense of the mass it should define. Such questions can only be decided
by a gradual consensus of opinion. My own belief is that it will be
decided ultimately against Holbein's having actually executed the
painting, though I am bound to admit no other known imitator comes
as near to Holbein himself as does the author of this." 2 Dr. Ganz
regards it as a genuine work by Holbein, and dates it 1540, drawing
attention to the similarity of the enamelled rose fastened to her dress
to the one worn by Lady Butts, who was painted by Holbein at about
that date.3 It will be seen that the critics are divided; and it is cer-
tainly by no means easy to arrive at a definite conclusion. It is in-
teresting to note, as a minor point, that the gold tags with which Lady
Lee's dress is decorated are very similar to those on the surcoat of
Sir Thomas Wyat in the Lucas Cornelisz portrait, and are arranged
in much the same manner.
The dated portraits of the year 1536 are only three, one of which,
the Steelyard merchant, Derich Berck, has been already described.4
The second is the portrait of Sir Richard Southwell in the Uffizi Gallery,
Florence (PI. 16), 5 of which there is an excellent replica in the Louvre.
1 Burlington Magazine, vol. xvi., December 1909, p. 159.
2 Ibid., vol. xv., May 1909, pp. 74-5.
3 See Ganz, Holbein, p. 245. * See pp. 22-3.
5 Woltmann, 149. Reproduced by Ganz, Holbein, p. 108.
84 PORTRAITS OF 1533-1536
It was finished on the 10th July 1536, when Southwell was thirty-three
years old. It is a small half-length figure, the face three-quarters to
the right, wearing a black dress, open at the neck, with black satin
sleeves, and a black cap with a circular gold medallion with a negro's
head carved in cornelian. His hands are folded, and he is wearing a
gold ring with a green stone, and a gold chain round his neck. He is
closely shaven, and his black hair, which partly covers his ears, is cut
straight across the forehead. Across the plain dark green background
is inscribed on either side of the head in gold lettering :
" • X° • IVL1I • ANNO ETATIS • SVJE
• H • VIII • XXVIII ANNO XXXIII."
It is on an oak panel about 19 in. high x 14 in. wide. This is one of
Holbein's finest portraits of his second English period, and displays a
very subtle insight into what must have been an unattractive and in
many ways despicable nature. The small brown eyes have a look of
cunning, and the face with its smooth fat cheeks has few pretensions to
comeliness. Southwell was heir to great wealth, and was brought up
with Henry Howard, Earl of Surrey, and was intimate with the family
of the Duke of Norfolk. In 1531 he was obliged to pay a fine of £1000
before he could obtain pardon for being concerned in a murder, yet
three years later he was Sheriff of Norfolk. From 1535 onwards he
took an active share in the dissolution of the monasteries, and was
in all ways a willing and able tool of his royal master. His treachery
helped to bring Sir Thomas More to the scaffold, and, later on, he played
an even more treacherous part at the trial of his early companion, the
Earl of Surrey. He was knighted in 1542, and appointed one of the
King's executors, and under Queen Elizabeth he became Master of
Ordnance. Something of his unsavoury character is suggested by
Holbein in his portrait, which is distinguished by its remarkable
individuality and its fine technical qualities both in the flesh painting,
more particularly in the hands and the eyes, and in all the details of
the costume. Nothing is known of the history of the picture ex-
cept that it belonged to the Earl of Arundel, who presented it to
Cosimo II, Grand Duke of Tuscany, in 1620,1 as one of the best
Holbeins in his collection. It is still in its seventeenth-century
frame, with a silver tablet engraved with the arms of England and
1 See Rivista (TArte, vi. 5, 6, 1909.
1
Vol. II., Platk 16
SIR RICHARD SOUTHWELL
1536
Uffizi Gallery, Florence
J^fj? '• Tl^»
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PORTRAIT OF SIR RICHARD SOUTHWELL 85
the Medici, and an inscription, " Effigies domini Ricardi Southwelli
Equitis aurati, consiliarii privati Henrici VIII, Regis Angliae.— Opus
celeberrimi artificis Johannis Holbieni pictoris Regis Henrici VIII."
The replica in the Louvre (No. 2719) 1 corresponds in all its details
with the Florence picture, and appears to be only a good old copy.
It has on the back the seal of the Newton family, and was brought
by Napoleon from Germany in 1806. Another copy was lent to the
National Portrait Exhibition at South Kensington, 1866, by Mr. H. E.
Chetwynd Stapylton. A portrait of Southwell, apparently based on
Holbein's picture, was lent to the Tudor Exhibition, 1890 (No. 217),
by Mr. W. H. Romaine Walker. In this version Southwell's coat of
arms and the inscription " Copley Stili " are on the right-hand side of
the background, and on the left " Richd. Southwell of Horsham St.
Faith's in Norfolk ^ET.95." The age in this inscription is altogether
wrong, for Southwell was fifty-seven at his death in 1561.
Holbein's study for the portrait is one of the most remarkable
among the Windsor drawings.2 The head and shoulders only are
shown, but otherwise it is almost identical with the Uffizi panel; even
the four black buttons which stand out against the white shirt are
indicated in the same position as in the finished work. It is inscribed
" [a]nno ettatis sv^e 33," and bears the note in Holbein's own hand-
writing, " die augen ein wenig gelbass " (the eyes a little yellowish).
This study, which is about 16 in. xii in., is in excellent condition.
The third portrait of 1536 represents Sir Thomas le Strange. It
is on panel, i5jxio|- in., and was exhibited at the Tudor Exhibition,
1890 (No. 113), and at the Burlington Fine Arts Club Exhibition,
1909 (No. 41), lent by Mr. Hamon le Strange.3 It is a bust portrait,
three-quarters to the left. The sitter has greyish hair cut straight
across the forehead, and a short brown beard and moustache. His
black cap has a number of gold tags and a medallion, and he wears
a gown with a brown fur collar over a black dress, a pleated white
collar from which long tags hang down, and a long gold chain over his
shoulders. Across the top, on the green-blue background, is the re-
painted inscription "anno de 1536 ^tatis sv,e 43." It has suffered
1 Reproduced by Ganz, Holbein, p. 218.
2 Woltmann, 304; Wornum, i. 20; Holmes, i. 34. Reproduced by Davies, p. 180; Ganz,
Hdz. von H. H. dem Jung., PI. 37 ; Drawings of Hans Holbein, PI. xlvi ; and elsewhere.
3 Reproduced by Ganz, Holbein, p. 109, and in the illustrated catalogue of the Burlington
Fine Arts Club Exhibition, PI. xii.
86 PORTRAITS OF 1533-1536
considerable repainting about the face, but it is a picture of much
interest, and since it was last exhibited has been acknowledged by most
of the leading critics to be a genuine work by Holbein. The original
drawing for this picture, which shows some slight differences, is in the
Windsor collection.1 Sir Thomas Strange or le Strange, of Hunstanton,
Norfolk, was born in 1493, and entered the service of Henry VIII as
esquire of the body, was knighted, and accompanied the king to the
Field of the Cloth of Gold. He was High Sheriff of Norfolk in 1532,
and died in 1545.
A small, undated bust portrait of Lady Vaux, wife of Thomas,
second Lord Vaux, of Harrowden, the poet, has every appearance of
belonging to this period. There are two versions of it, one in the
Prague Gallery (No. 608), 2 and one at Hampton Court (No. 591 (337) ).3
Dr. Ganz regards both as old copies, but Sir Claude Phillips considers
the former to be the original work by Holbein, and A. von Zahn says
that it is indubitably original, but has suffered so severely and has
been so heavily over-painted that little of Holbein's handiwork is left.
The Hampton Court version is the better of the two, and is apparently
an excellent copy, though in technique of a somewhat later date.4 It
has been held, nevertheless, by most English writers to be a genuine
but badly-damaged work of Holbein. The head has been repainted,
which gives it that faded appearance noted by Mr. Wornum 5 and Dr.
Waagen,6 though the latter attributed it to " the attempt to give the
refinements of the modelling in grey half-tones," in doing which
Holbein " sacrificed the warm local colours observable in his earlier
pictures." On the other hand, many of the accessories, such as the gold
and enamel medallion, the chain round her neck, the ring, and the
cuffs, display a delicacy of execution not easily attributable to anyone
but Holbein. She is represented to the waist, almost full face, the body
turned slightly to the spectator's left, and is dressed in black, with
ermine upon the sleeves, and the customary diamond-shaped hood,
edged with pearls, and with a black fall. She wears a thin black chain
round her neck, and at her breast a circular brooch with a figure of the
1 Woltmann, 294 ; Wornum, i. 32 ; Holmes, ii. 6.
2 Woltmann, 243. Reproduced by Ganz, Holbein, p. 220.
3 Woltmann, 163. Reproduced by Law, Royal Gallery of Hampton Court, p. 212; Ganz,
Holbein, p. 221.
4 See Ganz, Holbein, p. 252. 5 Wornum, p. 411.
8 Treasures of Art in Great Britain, vol. ii. p. 361.
PORTRAIT OF SIR NICHOLAS CAREW 87
Virgin enthroned. Her hands rest in her lap, and in her right she holds
a pink. It is on panel, 1 ft. 3 in. high by n|- in. wide. Mr. Law
suggests that it is identical with " The picture of Madame de Vaux,
by Holbein," which was among the Duke of Buckingham's pictures
sent to be sold at Antwerp, whence it presumably returned with the
" Dutch Gift," and may, perhaps, be identified with No. 410 in James
I's catalogue, described as " One of King Henry VIII's Queens, hold-
ing a gillyflower." x There is a study for the head among the Windsor
drawings,2 in which the strengthening lines are exceptionally hard
and pronounced, and mar an otherwise fine drawing. Holbein also
painted her husband, though the picture has been lost, but the very
beautiful drawing for it, described in a later chapter,3 remains at
Windsor. There is a second study of Lord Vaux by Holbein in the
same collection.
The portrait of Sir Nicholas Carew, Henry's Master of the Horse,
was probably painted during the earlier years of Holbein's second
residence in London. It could not have been done later than 1537,
for in 1538 Carew was thrown into prison for supposed connection
with the conspiracy of Cardinal Pole and the Marquis of Exeter, and
was beheaded on March 3rd, 1539. There is a brilliant study for this
portrait in the Basel Gallery (PL 17), a drawing in black and coloured
chalks.4 He is wearing body armour, and has a short beard and
moustache; his hair is concealed by a close-fitting coif, and there are
an octagonal medallion and a white feather in his black cap. It is
one of the most masterly drawings Holbein ever made, searching in
its truth, and of exact and delicate draughtsmanship.5 As it was
included among the collection of works by Holbein formed by his
friend and admirer, Bonifacius Amerbach, it may have been presented
to the latter by the artist himself when he was in Basel in 1538.
The oil painting done from this study is in the collection of the
1 Law, Royal Gallery of Hampton Court, p. 213.
2 Woltmann, 321 ; Wornum, ii. 30; Holmes, i. 24. Reproduced by Davies, p. 218; Ganz,
Holbein, p. xxxvii. ; and elsewhere.
3 See p. 257. See also pp. 52-3 with reference to the " Portrait of a Musician " at one time
considered to represent Lord Vaux.
* Woltmann, 31. Reproduced by Davies, p. 212 ; Ganz, Haz. Schwz. Mslr., iii. 40, and
Holbein, p. xxxiii. Dr. Ganz is of the opinion that this drawing is of Holbein's first English
period, and that the finished portrait was painted in 1527 or 1528. See Holbein, p. 238.
5 It has been suggested that the fine drawing of an English lady in the same collection is a
portrait of Lady Carew, but it more probably represents Lady Guldeford. See Vol. i. p. 321.
88 PORTRAITS OF 1533-1536
Duke of Buccleuch and Queensberry, K.G.,1 and was last publicly
exhibited at the Burlington Fine Arts Club in 1909 (No. 45). It is
a three-quarters length, turned to the left as in the drawing. The
beard is brown, and the coif below the black hat is of cloth of gold.
The octagonal gold badge represents a tree stem raguly and a banderole
inscribed " sola." He is wearing full plate-armour, and brown
trunks slashed with cloth of gold. With his right hand he holds a
white truncheon against his hip, and with the other grasps his sword
by the scabbard. The background is a green damask curtain, and on
a small cartellino in the left-hand bottom corner is inscribed in a
cursive hand " sr Nicholas carewe, master of the horse to
king henry ye 8." It is on a panel of unusual shape, being 36 in.
high by 40 in. wide. This picture, as a whole, is a fine and interest-
ing example of Tudor portraiture, but parts of it are certainly not
by Holbein. The head is good, but the armour and many of the
details are by some other, and possibly a later, hand. The proba-
bilities are that it was begun by Holbein and finished by someone
else ; perhaps the arrest of Carew may have brought the completion
of the work to an abrupt conclusion as far as Holbein was concerned.
The fact that his name is given on the cartellino suggests that the
portrait may be a posthumous one. It was not the usual custom at
that time to place more than the date and the age of the person
depicted upon the panel. Except in the form of a superscription to
a letter held by the sitter, as in the Kratzer, Cromwell, and some of
the Steelyard portraits, Holbein was not in the habit of adding the
name to the pictures he painted in England. The " Duchess of Milan "
is an exception,2 but even here there is every probability that the
cartellino was painted in at a later date. It is difficult to decide
whether the Carew portrait was begun by Holbein and finished by some
other hand, or whether it is an almost contemporary copy from some
lost original. The head follows the Basel drawing closely, but as the
latter was owned by Amerbach it is improbable that a copyist could have
made use of it; so that, taking all things into consideration, it is safer to
assume that Holbein himself had a share in its painting.3 This por-
trait was in the possession of John, Lord Lumley, in 1590, and was
1 Woltmann, 142. Reproduced in illustrated catalogue of Burlington Fine Arts Club Exhibi-
tion, 1909, PI. xv. ; Ganz, Holbein, p. 77. 2 Also the Cheseman portrait.
3 Dr. Ganz, as already noted, considers it to be a genuine work of 1527-8.
[]
[I'd
Vol. II., Plate 17
SIR NICHOLAS CAREW
Drawing in black and coloured chalks
Basel Gallery
PORTRAIT OF SIR NICHOLAS CAREW 89
sold from Lumley Castle in 1785 for ten guineas. In the inventory
of 1590 it is described as "Of Sr Nichls Carewe Mr of the horse to
K:H:8 "; and it is interesting to note that the words " drawne by
Haunce Holbyn " are not added, as they are after several other works
by the master which Lord Lumley possessed. It has been suggested
that this portrait is the " Ritratto d'homo armato " of the Arundel
inventory of 1655, but if the picture remained in the possession of the
Lumley family until 1785 this supposition cannot be correct. Symonds,
in his Note-Books, has an entry of " A Ritratto of an English knight
by Holbein who sits in a chayre and a table by him," in the collection
of the Earl of Northumberland in Suffolk House, which seems to
refer to this picture.1
1 Quoted by Mr. C. H. Collins Baker in Lely and the Stuart Portrait Painters, vol. ii. p. 184.
CHAPTER XIX
"SERVANT OF THE KING'S MAJESTY"
Holbein's entry into Henry V Ill's service— Painting of "Adam and Eve "—Portraits of Henry
VIII — The Whitehall fresco — Van Leemput's copies of it — The life-size cartoon of Henry VII
and Henry VIII— Drawing at Munich— Portraits of the King at Belvoir Castle, Petvvorth, St.
Bartholomew's Hospital, Chatsworth, Warwick Castle, Hampton Court, Windsor, Rome, and
elsewhere — The portrait at Althorp— Portraits and miniatures of Jane Seymour.
|HE exact date of Holbein's entry into the royal service
is unknown. Three records of the household ex-
penditure of the King are in existence : the Accounts
of Bryan Tuke, Treasurer of the Chamber, which
extend from ist October, 20th Hen. VIII (1528) to
May, 23rd Hen. VIII (1531), during which period
Holbein was out of England ; the Privy Purse Expenses of the King,
from November 1529 to December 1532 ; and further Accounts of
Tuke, as Treasurer, from Lady Day, 29th Hen. VIII (1538) to Mid-
summer, 33rd Hen. VIII (1541). Although Holbein was in England
during the latter half of 1532, his name does not occur in the Privy
Purse expenses, as it certainly would have done had he then been
in the King's employment. Unfortunately, no accounts have been
preserved for the period between 1533 and 1537, and so it is not until
1538 that we have definite proof that the painter was in receipt of a
regular salary from the royal purse. The first entry referring to him
is at Lady Day, 1538, when the following occurs : " Item, for Hans
Holben, paynter, villi, xs." As his salary of £30 a year, paid quarterly,
was not as a rule paid in advance, he must have already been in the
royal service at least three months earlier, that is in December 1537.
The first actual reference to him as painter to the King is con-
tained in the letter of Nicolas Bourbon, already quoted, written
early in 1536, in which he speaks of him as the " royal painter," and
it is to be inferred from it that Holbein already held that position in
1535, when the poet was in England and made his acquaintance. The
circular miniature of Jane Seymour by Hilliard in the Windsor
90
HOLBEIN'S ENTRY INTO ROYAL SERVICE 91
Collection, apparently copied from an original by Holbein, is in-
scribed " Ano Dni 1536 ^etatis sviE 27 " ; and the great painting of
Henry VII, Henry VIII, Elizabeth of York, and Jane Seymour, with
which Holbein covered one of the walls of the Privy Chamber at
Whitehall, was done in 1537. None of the earlier portraits of Henry
or of his two first queens, usually ascribed to Holbein, are authentic
works of his, which affords some proof that he did not enter the royal
service until after Jane Seymour had been crowned Queen in 1536,
or, if Bourbon is to be believed, that at least he did not do so until
towards the end of Anne Boleyn's life. The small portrait of
Henry VIII on the frontispiece of Coverdale's Bible, printed in 1535,
bears little real likeness to the King, and may well have been designed
by Holbein without any sitting from him ; though, on the other hand,
it may also be taken as some indication that he was already the King's
servant in that year. It is safer, however, to assume, as the evidence
for an earlier year is so scant, that he received his first pay from the
royal purse in the autumn of 1536.
It is extraordinary, and indeed almost inexplicable, that Holbein
was at work for so long a time in England before he received royal
recognition. That this did not happen during his first sojourn in
London is surprising enough, but that on his return he should remain
for three or four years busily employed in painting portraits of people
about Henry's court, some of which the King must have seen, is still
more difficult of explanation. Henry entered into keen but friendly
rivalry with Francis I in his patronage of art, and was anxious at all
times to induce good foreign artists to settle in England ; and yet
here was a painter of gifts which placed him high above his fellows, who,
apparently, went quite unrecognised. This is the more remarkable
when it is remembered that the King was well acquainted with, and
had expressed his delight in, at least one work of Holbein done
during his first English visit — " The Battle of Spurs," which de-
corated the back of the arch of the temporary Banquet Hall at
Greenwich. It is hardly possible that it was owing to any disinclina-
tion on Holbein's own part, however anxious he may have been to
retain his rights as a citizen of Basel. He could have entered Henry's
service for a year or two without renouncing his burghership, or
becoming a naturalised English subject, and that he did obtain the
post in the end seems to indicate that the obstacle, whatever it may
92 " SERVANT OF THE KING'S MAJESTY"
have been, was not one of his own making. It was, on the other
hand, an honour to which he would aspire, and the possibility of
holding some such position must have been one of the reasons which
induced him to visit this country, as it was with all the foreign artists
and craftsmen who made London their temporary home. A satis-
factory explanation of this mystery is hard to find, and unless further
evidence is discovered, it must remain unsolved.
That there is some possibility that Holbein was indirectly em-
ployed by the Crown even earlier than 1535 is suggested by an interest-
ing memorandum dealing with goldsmiths' work published in the
Calendars of Letters and Papers. The paper is undated, but is placed by
the editor under the year 1534. It is an account rendered to the
King's Secretary, Thomas Cromwell, by the Dutchman Cornells
Hayes, one of the leading foreign goldsmiths in London during Henry's
reign, who was constantly employed by the King and the court.
The articles supplied were apparently for the royal service, the chief
among them being an elaborately decorated silver cradle, which may
possibly have been for the use of the Princess Elizabeth, who was
born on the 7th September 1533. The document runs as follows :
" Parcels delivered to Mr. Secretary by me, Cornelys Hayes, gold-
smith. A silver cradle, price 16H. For making a silver plate, alter-
ing the images, making the roses underneath the cradle, the roses
about the pillars, and new burnishing, 13s. 4^. For the stones that
were set in gold in the cradle, 15s. ; for fringes, the gold about the
cushions, tassels, white satin, cloth of gold, lining, sypars, and swadyl-
bands, 13s. 6d. Total, 18/*. is. lod. The silver that went to the
dressing of the Adam and Eve, the making of all the apples, the gilding
of the foot and setting of the currall (coral), 33s. /\d. To Hance, painter,
for painting the same Adam and Eve, 20s." * Other items are in-
cluded in the account which need not be quoted.
The " Hance, painter," who supplied this picture of " Adam and
Eve," was undoubtedly Holbein, who was acquainted with Hayes,
as we learn from Bourbon's letter, and for whom he almost certainly
provided designs for jewellery.2 The document is not very clear,
1 C.L.P., vol. vii. 1668.
2 The same paper contains an item for "the garnishing of two books with silver gilt, 66 oz. at
6s." which recalls Holbein's designs in the British Museum for work of a similar kind. The velvet
for covering them was supplied by William Lock, the leading London mercer, at a cost of 43J. gd.
PORTRAITS OF HENRY VIII 93
and on a first reading it would appear that the " Adam and Eve '
formed part of the decoration of the cradle ; but it is more probable
that it had nothing to do with it, but was a separate piece of work,
either a picture or a carving in wood, honestone, or alabaster, which
Holbein was employed to colour ; possibly the latter, as the fee paid,
twenty shillings, was a small one for an original painting from his
brush. Whether picture or carving, it was evidently set in a very
elaborate silver frame, decorated with silver apples in relief, as appro-
priate to the subject it contained, and with coral inset. No trace
of this work remains, but the possibility that Holbein's share in it was
a small picture recalls that earlier " Adam and Eve " of the first Basel
years, which, as already noted,1 bears a considerable resemblance to
the heads in the picture of the same subject by Mabuse in Hampton
Court.
Among the numerous portraits of Henry VIII to be met with in
so many of the great houses of this country and in several European
museums, which, in almost all cases, are attributed by their owners
to Holbein, only three 2 can be ascribed to him with any certainty.
These are the large cartoon for the left-hand half of the Whitehall
wall-painting, belonging to the Duke of Devonshire ; the beautiful
little panel portrait in Earl Spencer's collection at Althorp ; and the
crayon study in the Munich Gallery. The greater number of the
remaining portraits of him, most of them based on the Whitehall
likeness, are merely inferior copies, and copies of copies, " shop "
pieces supplied to order by Henry's painters for presentation to foreign
potentates and ambassadors, and to his own statesmen and courtiers
as a reward for faithful service. Less frequently one is met with which
is a good and original work by some painter of lower rank than Holbein,
and such portraits, in their turn, have been multiplied by assistants in
order to meet the constant demand for the King's likeness.
The great Whitehall fresco was painted in 1537, and was the
first work of importance which Holbein undertook for the Crown.
It achieved immense popularity, and for one hundred and fifty years
or so every foreign visitor of distinction was taken to see it, while all
artists who had an opportunity of examining it spoke loudly in its
1 See Vol. i. p. 56.
2 A fourth work, the portrait in the National Gallery, Rome, is, however, considered by
Dr. Ganz and other critics to be an original work by Holbein.'
94 " SERVANT OF THE KING'S MAJESTY"
praises. It covered one of the walls in the Privy Chamber at White-
hall, and was painted on either side and over the top of a window, or,
more probably, the fireplace, and consisted of four great figures,
Henry VIII and his father, Henry VII, on one side, and his mother,
Elizabeth of York, and his third wife, Jane Seymour, on the other,
arranged within an elaborately designed architectural setting. This
great work, which added so much to Holbein's fame among his con-
temporaries, was destroyed in the fire at Whitehall in January 1698 ;
but happily, owing to the foresight of Charles II, we still possess, in
the small copy of it by the Flemish artist Remigius van Leemput,
in Hampton Court1 (No. 601 (308)), a very valuable record of the
composition of the work. The copy is evidently a very faithful one,
and though, of course, it lacks all the greatness of style, the vividness
of character, and the beauty of colour of the original — for Remee was
a poor artist — it reproduces the composition with some exactitude, and
so is invaluable to students of the master. This copy was made by
Van Leemput in 1667, the probable reason being that the fresco was
then beginning to show signs of decay, and that Charles was anxious
to retain an accurate record of it before it was ruined. Patin, who
visited England about 1670, and saw both the painting and the copy,
said that the latter was ordered by the King " pour en estendre la
posterite s'il faut ainsi dire, et n'abandonner pas une si belle chose a
la fortune des temps." 2 Walpole says that Remee, as he was familiarly
called here, received £150 for his work,3 which was a very large fee for
those days, and shows how highly the King valued the original.
The wall painting itself was still in perfect condition when Van
Mander saw it in 1604. He was deeply impressed by this " over-
heerlijk Portret " of Henry, which, he wrote, was so true to life that it
rilled the spectator with dismay.4 " The King, as he stood there,
majestic in his splendour, was so life-like, that the spectator felt
abashed, annihilated, in his presence." Earlier travellers who saw it
and praised it were Johann Fischart, in 1576,5 and Hentzner, who
visited England in 1598 ; while Duke Johann Ernst of Saxony, who
was here in 1613, was also taken to see it ; it is noted in the records
1 Reproduced by Ganz, Holbein, p. 179, from Vertue's engraving.
2 Patin, Relations kistoriques, Basel, 1673, p. 211 et sea.
3 Walpole, Anecdotes, ed. Wornum, 1888, i. p. 82.
4 " Zo wel getroffen, dat het den beschouwer met verbaastheid aandoet."
5 Quoted by Ganz, Holbein, p. xxxviii.
THE WHITEHALL WALL-PAINTING 95
of his journey, " upon this his Royal Highness was conducted into
the King's apartment ; it was small but hung with beautiful tapestries
on all sides. In this room were the full-length portraits of Henrici
VIII, and his father, Henrici VII. They were regarded as special
works of art, and similar works are said not to be seen throughout
England." Both Pepys and Evelyn mention it in their diaries. The
latter, under the date nth February 1656, says he was glad to find,
on revisiting Whitehall for the first time for many years, that " they
had not much defac'd that rare piece of Hen. VII, &c, don on the
walles of the King's privy chamber." This entry proves that ten or
eleven years before Charles II ordered the copy to be made the
fresco was beginning to show signs of decay. It narrowly escaped de-
struction in the earlier fire at Whitehall in 1691, but the conflagration
of 1698 was a much more serious one. It burnt down the entire Palace,
with the exception of the Banqueting House and a few buildings ad-
joining it. More than a thousand apartments perished in the flames,
and a number of pictures in the Matted Gallery and elsewhere, men-
tioned by Evelyn, were destroyed. " This terrible conflagration,
which broke out about four in the afternoon and lasted upwards of
seventeen hours, originated through the neglect and carelessness of a
laundress, a Dutch woman, who had left some linen to dry in front of
a fire, in the lodging of a certain Colonel Stanley. She and twelve
other persons, so it is reported, perished in the flames." 1
By the aid of the large cartoon and Van Leemput's copy a very
good idea of the general effect and composition of the picture can be
obtained. It is divided into two stages. On the spectator's left
hand stands Henry VIII, turned fully to the front, with arms akimbo,
and legs stretched widely apart, and opposite him, on the other side
of the picture, is Jane Seymour. Behind and above the King, and to
the right of him, on a raised step or low platform, stands his father,
Henry VII, and in a corresponding position on the other side, his
mother, Elizabeth of York. Henry was very proud of his legs, and
Holbein has depicted him in his favourite attitude. He holds a glove
in his right hand, and with the left the cord of his dagger, gold hilted,
with a gold and blue velvet sheath. His gold-brown doublet is richly
jewelled, and his red surcoat is trimmed with fur and elaborately
brocaded with gold thread ; a heavy jewelled chain crosses his
1 Dr. Sheppard, The Old Royal Palace of Whitehall, 1901, pp. 385-6. According to Scharf,
Old London, p. 322, the fresco was destroyed in the fire of 1691.
96 "SERVANT OF THE KING'S MAJESTY"
shoulders, and from another hangs a pendant. His flat black bonnet
is ornamented with pearls, devices in gold, and white feathers. The
figure is rather larger than life-size, but looks colossal. His shoulders
appear enormous, partly owing to the dress, and partly, no doubt,
through some exaggeration on the artist's part to flatter the vanity
of his royal sitter. Henry VII is shown in simpler costume ; with his
right hand he holds together the folds of his long ermine-trimmed gown,
his left elbow resting on the marble pedestal which Van Leemput
has placed in the centre in lieu of the window or chimney-piece which
occupied the same position in the wall itself. He holds his gloves in
his left hand, and has the Garter collar across his breast. Unlike his
son, he is beardless, and his long hair falls to his shoulders. Jane
Seymour is wearing a dress of tawny gold, full ermine sleeves, and
several necklaces of pearls. Her hands are clasped in front of her,
and a small white dog is lying on the long skirt of her gown. Behind
her, Elizabeth of York stands with her arms crossed, and holding up
her dress with her right hand. The floor is covered with a Turkey
carpet, and the background consists of richly decorated pilasters and
capitals, niches, and a frieze, in various coloured marbles, in the
Renaissance style of which Holbein made such brilliant use. In the
frieze on either side are figures supporting a shield. The shield shown
in the cartoon bears the initials H and J ; the other, no doubt, gave
the date. In Van Leemput's copy the initials have been changed to
" AN0. Do." with " 1537 " in the corresponding panel, while the centre
of the picture is filled with a high marble pedestal, with two cushions
on the top, and on the front of it a long Latin inscription in praise of
the two monarchs. Below this is inscribed : " Prototypvm Magni-
tvdinis Ipso Opere Tectorio Fecit Holbenivs Ivbente Henrico VIII,"
and a little below, on a plinth : " Ectypvm A Remigio Van Leempvt
Breviora Tabella Describi Volvit Carolus II. M.B.F.E.H.R. A0.
Dni. m.dclxvii."
Van Leemput's inferiority as an artist is shown most clearly in
his rendering of the faces. In that of Henry VIII, in particular, the
drawing is weak and lacking in character, and as a likeness it bears no
close resemblance to the many portraits still existing which were
copied or adapted from the fresco. It must be regarded, therefore,
as a not very reliable record of the facial appearance of the four sitters
as Holbein painted them.
CARTOON OF HENRY VII & HENRY VIII 97
The pedestal was, no doubt, Van Leemput's own invention, and
the Latin verses must have been specially written for the purpose of
his copy. As already pointed out, the wall on which the fresco was
painted contained either a window or a fireplace. Charles Patin
describes it as " sur le pignon de la croisee " ; but it has been suggested
that " croisee " is a typographical error for " cheminee." Patin,
however, was not a very careful observer, for he speaks of the subject
as " de la main d'Holbein, le portrait d'Henry huit et des Princes
ses enfants." * In this, nevertheless, he may not be so completely
wrong as at first sight appears. In 1897 Mr. Ernest Law, the historian
of Hampton Court Palace, discovered another copy of the great wall-
painting, also by Van Leemput, and of the same size and scale as the
Hampton Court example, but with one important difference. In
the middle foreground the copyist has placed a standing figure of
Edward VI. This interesting little picture belongs to Lord Leconfield,
and is in one of the private bedrooms at Petworth, Sussex. Patin
may have seen this copy, and afterwards may have confused it with
the wall painting ; or again, he may have confused the fresco with
the picture of Henry VIII and his family, by an unknown artist of the
school of Holbein, now in Hampton Court, No. 340 (510), but pro-
bably in Patin's day hanging in Whitehall.2
The life-size cartoon of Henry VIII and his father, belonging to the
Duke of Devonshire, until recently at Hardwick Hall (PI. 18) ,3 is, though
only a working drawing, a superb example of Holbein's mastery of
composition on a monumental scale. It is the original design for the
left-hand part of the Whitehall fresco, and along its outlines the
prickings are still visible by means of which the design was pounced
on the wall. It provides evidence that Van Leemput's copy was a
faithful one, for, with one important exception, the two agree in all
points. The exception is in the position of the King's head. In the
cartoon it is about three-quarters to the right, but in the copy it has
been turned so that the monarch is looking directly at the spectator.
Woltmann is, no doubt, right when he suggests that the change was
1 Patin, Relations historiques, Basel, 1673, p. 211 et seq.
2 It is hardly possible that the figure of Edward VI was added to the wall painting itself after
the death of Holbein, or otherwise it would appear in both Van Leemput's copies. It was, no
doubt, taken from some independent portrait of the young king then hanging in Whitehall.
3 Now (1913) at Chatsworth. Woltmann, 167. Reproduced by Davies, p. 168; Ganz
Holbein, p. 180 ; Burlington Fine Arts Club Exhibition, 1909, Catalogue, PI. i.
VOL. II. G
98 " SERVANT OF THE KING'S MAJESTY"
made by the express wish of Henry himself while the wall-painting
was in progress.1 He desired to be shown full-fronted to the world,
for he was proud of his appearance, more particularly of his calves, as
more than one contemporary anecdote shows. In his younger days,
at the beginning of his reign, he was the most commanding figure at
the English court, praised by all for his good looks, and celebrated for
his great bodily strength and for his proficiency in all manly sports and
exercises. He is thus described by the Venetian ambassador Pas-
qualigo in 1515 ; " His Majesty is the handsomest potentate I ever
set eyes on ; above the usual height, with an extremely fine calf to
his leg ; his complexion very fair and bright, with auburn hair combed
straight and short in the French fashion ; and a round face so very
beautiful, that it would become a pretty woman, his throat being
rather long and thick." 2
When Holbein painted him he was forty-six years old, and his
face had coarsened and had lost all its youthful freshness and good
looks, but his figure was still erect and kingly, and retained much of
its earlier vigour. In the cartoon he stands boldly and firmly on his
legs, active and alert, though massive in build, and made still broader
in appearance by his rich apparel, heavily padded about the shoulders.
It is in the face that his age and the habits of his life are beginning to
leave ugly indications, though this is not to be gathered from the
cartoon, in which his features, badly rubbed, are now barely dis-
cernible. This, however, may not be entirely due to the accidents
of time, for as the cartoon was made for the purpose of transferring
the leading lines of the composition to the wall, Holbein possibly only
indicated the main outlines, leaving the more careful modelling to be
done on the wall itself. Sadly damaged as the cartoon is, a mere
fragment of the first conception of a great masterpiece, it nevertheless
remains a remarkable and precious work of art, doubly valuable in
that it not only shows us Holbein's methods of work, but is also the
only record from his own hand we possess to-day in this country of the
most important and celebrated painting he produced while in England.
The whole composition is drawn in with the point of the brush, in the
manner, as Mr. S. Arthur Strong points out, at once broad and minute,
of which Holbein seems to have been the solitary master. In this
crowd of particulars almost everyone else would have lost sight of
1 Woltmann, i. 421. 2 C.L.P., vol. ii. pt. i. 411.
A.l'l ..II .JoV
noi.toolloo ■ luG
i aoaa j
Vol. II., Plate 18
HENRY VII AND HENRY VIII
Cartoon
Duke of Devonshire's collection
Until recently at Hardwick Hall, now at Chatsworth
!
DRAWING OF THE KING AT MUNICH 99
the whole, and given us a map instead of a view.1 Mr. Roger E. Fry
speaks of it as one of Holbein's greatest creations. " It has all the
grandeur of style, the lucidity and ease of arrangement of the greatest
monumental design of Italy, together with a particularity and minute-
ness which would seem incompatible with those greater qualities of
style had they not been thus wonderfully united. In all the de-
corative details, too, this great work gives us a measure of Holbein's
impeccable taste at a time when taste was by no means as universal
as it had been in earlier centuries." 2
This cartoon was in 1590 in the possession of John, Lord Lumley,
at Lumley Castle, and is entered in the inventory of the pictures as
" The Statuary of King Henry the Eight and his father Kinge Henry
the Seventh Joyned together, doone in white and black by Haunce
Holbyn." It passed subsequently into the collection of the Duke of
Devonshire, and has been preserved ever since at Hardwick Hall.3
When it was decided to change the position of the face, it became
necessary for the King to give the painter another sitting, and the
full-face drawing now in the Munich Gallery 4 is, no doubt, the very
study Holbein made for the purpose. This is not only evident from
its agreement with Van Leemput's copy, but also from its dimensions.
It is life-size, and thus considerably bigger than any other preliminary
portrait-study by Holbein which has survived. It is in black and red
chalks, on paper prepared with body-colour in the manner practised
by the painter at that period. The study is of the face alone, part of
the hat, the collar, and a small portion of fur on the shoulders being
roughly indicated. The short, scanty beard and the still scantier
whiskers do not conceal the shape of the massive, almost square face,
with its thin eyebrows, fat, heavy cheeks, which from their size make
the mouth look small. He gazes in front of him, his eyes unconscious
of the spectator, as though the thoughts of the sitter were entirely
given to himself. The modelling is masterly, and is obtained by the
simplest means ; but the sketch, simple as it appears to be, produces
a wonderful effect of perfect truth to life. Here is the King exactly as
he was, as none other but Holbein could have drawn him. He has
1 S. Arthur Strong, Reproductions oj Drawings by the Old Masters at Chats-worth, 1902 ;
republished in Critical Studies and Fragments, 1905, p. 132.
2 Burlington Magazine, vol. xv., May 1909, p. 74. 3 See p. 97, note 3.
4 Woltmann, 221. Reproduced by Davies, p. 166; Knackfuss, fig. 125; A. F. Pollard,
Henry VIII, p. 220.
ioo "SERVANT OF THE KING'S MAJESTY"
given not only an absolutely faithful rendering of the face itself, but
has laid bare much of the complex character which lurked behind it,
and the drawing must always remain both one of the artist's very
finest portrait-studies and also a living document of the utmost value
in the history of Tudor England. How this drawing came to be in
Munich is not known. It was discovered among a number of other
drawings, put aside as of no particular value, by Herr J. H. von
Hefner Alteneck when he was keeper of the Print Room. It does
not appear to have ever formed a part of the Windsor series of
drawings.
The Whitehall painting became the prototype of nine-tenths of
the very numerous portraits of Henry which were produced during his
reign and for some little time afterwards. With one possible exception,
these works are not from Holbein's own hand ; they were all the work
of the less important artists attached to the English court. These,
again, are of very varying degrees of skill, some being but coarse and
common productions, while others have considerable artistic merits.
There is great probability that some of the best of them were from the
workshop of Gerard and Lucas Hornebolt, more particularly those
half-lengths of which the portrait in Warwick Castle is perhaps the
finest example. All, however, had their real origin in the Whitehall
painting ; in every one of them the King is shown full-face, and in
the same characteristic attitude.
Interesting as the subject is, the scope of this book does not permit
any attempt to describe, or even to compile a list of, all the portraits
of Henry VIII still remaining in England. A few of the principal
ones may be mentioned briefly. Several of them are full-lengths.
Among these one of the most interesting is in Bel voir Castle.1 It was
purchased by the fourth Duke of Rutland at Lord Torrington's sale
in 1787 for £211. Except in some minor details of the dress, it follows
the Whitehall painting very closely. The King is wearing " white
hose, with the Garter on his left leg ; a gold chain round his neck with
the letter H, with a pendant circular gold case without any device ;
another gold chain or collar across the shoulder over the surcoat is
mounted in jewels set in gold and enamel. The whole of the dress and
ornaments is most elaborately painted and gilded, and in excellent
effect of light and colour, being in an absolutely perfect state of pre-
Reproduced in The Connoisseur, vol. vi. No. 22, June 1903, frontispiece.
OTHER PORTRAITS OF THE KING 101
servation." 1 The copyist has made the face younger and more
handsome, and much more lacking in expression than the Munich
sketch. The background is a curtain with an elaborate design in
panels, each one surmounted by a crown. Dr. Waagen thought
it to be a genuine work by Holbein. " Although painted on canvas,"
he says, " the picture is of such truth, delicacy, and transparency,
that I consider it an original." A similar whole-length on wood,
belonging to the Seymour family, is described by Dr. Woltmann, who
regarded it as an excellently painted contemporary copy, which very
possibly came into the possession of that family through their con-
nection with Jane Seymour.2 There is a far finer example at Petworth,
much more transparent and delicate in its tones, which Wornum de-
scribes as " really magnificent." 3 This work is by no means an exact
copy ; it differs in various details, more particularly in the dress, which
is of silver brocade with a blue mantle lined with ermine. It is
possibly the work of a Fleming. The background is architectural.
There is another full-length version at St. Bartholomew's Hospital,
with a further variation of the background and the floor. Other
repetitions are at Chatsworth,4 Trinity College, Cambridge, and in
the possession of Viscount Dillon at Ditchley, Enstone.5
The half-length and three-quarter-length versions, of which the
portraits at Rome and in Warwick Castle are, perhaps, the most
important, are still more numerous. In these the King is shown in
the same position, and apparently several years older, the cheeks
fatter and more shapeless, and with greyer beard, while in a number of
them, instead of holding his dagger, he has a stick in his left hand.
The Warwick picture, which is life-size, to the knees, and full-front,
was considered by Dr. Waagen to be a genuine work by Holbein of
about the date 1530, but more recent criticism has shown him to be
1 The Connoisseur, vol. vi. No. 22, June 1903, p. 68 (quotation from Radford's catalogue of the
collection).
2 Woltmann, ii. 20. 3 Wornum, p. 308.
4 Described by Mr. S. Arthur Strong as "one of the best of the royal effigies that are all
probably based in common upon the Hardwick cartoon. The artist, whoever he was, had a
manner of his own, and was more than a mere copyist. The cold grey scheme of colour is a
contrast to the depth and richness at which Holbein aimed, and is more akin to what we
afterwards appreciate as characteristic in Honthorst and Mytens." — Critical Studies and
Fragments, p. 91. The figure is evidently copied directly from the wall-painting. The position
and the details of the dress agree exactly with the Hardwick cartoon. It is reproduced by
Dr. Ganz, Holbein, p. 181.
5 Reproduced by A. F. Pollard, Henry VIII, p. 1 50.
102 "SERVANT OF THE KING'S MAJESTY"
wrong in both these assertions. " The square face is so fat," he says,
" that the several parts are quite indistinct. There is in these features
a brutal egotism, an obstinacy, and a harshness of feeling, such as I
have never yet seen in any human countenance. In the eyes, too,
there is the suspicious watchfulness of a wild beast, so that I became
quite uncomfortable from looking at it a long time ; for the picture,
a masterpiece of Holbein, is as true in the smallest details as if the king
himself stood before you. In the very splendid dress much gold is
employed. The under-sleeves are of gold, with brown shadows ; the
hands most strikingly true to nature ; in the left he has a cane, and
in the right a pair of gloves ; on his head a small cap. The background
is bright green. The want of simplicity of the forms, the little round-
ing of the whole, notwithstanding the wonderful modelling of all the
details, the brownish red local tone of the flesh, the grey of the shadows,
and the very light general effect, show this picture to be a transition
from the second to the third manner of Holbein, and that it may have
been painted about 1530." *
It is, however, impossible that the portrait can have been painted
in that year, when Henry was not forty. He appears to be at least
fifteen years older than this. The head and hands are good, but the
style of painting has little in common with that of Holbein, while the
details of the dress lack the beauty, delicacy, and truth of draughtsman-
ship which are to be found in his work. There is a portrait in the
collection of the Marquis of Bute, which, according to Dr. Waagen, is
" exactly like the picture by Holbein at Warwick Castle, only less
finished." 2 When he saw it, as far back as 1854, it was ascribed to
" Gerard Horebout," and there is every probability that this attri-
bution is the correct one, for it is not to be expected that the almost
forgotten name of Hornebolt would have been substituted for the
much better known one of Holbein, and the fact that the former name
has clung to the picture for so long is strong evidence in favour of
the contention that Hornebolt was the painter of it. For this reason
the Warwick portrait, and others like it, are now tentatively attri-
buted by most modern writers to the workshop of Gerard and Luke
Hornebolt.
The portrait in the National Gallery, Rome (PI. 19) ,3 which was
1 Waagen, Treasures of Art in Great Britain, iii. p. 215.
2 Ibid., vol. iii. p. 482. 3 Reproduced by Ganz, Holbein, p. 125.
v^
"KING HENRY VIII'
This important portrait, painted in 1542 and recently discovered in England, is published hi
for the first time in this country.
HANS HOLBEIN
IHBH
'Jean in Costume'
By R. Sloan Bredin, A. N. A.
OCTOBER CALENDAR
AT FIFTH AVENUE BRANCH
10th to 21st R. SLOAN BREDIN Memorial Exhibition
Through October Sculpture by AMERICAN ARTISTS
AT 15 VANDERBILT AVENUE
1 7th to 28th Water colors by JOHN WENGER
Water colors and Drawings by MILDRED RACKLEY
Portrait Drawings in Pastel by HUGO STEVENS
15th to 30th Drawings, Water colors and Prints by GEORGE WRIGHT
LAND CENTRAL ART GALLEI
DERBILT AVENUE
Central Terminal
"All That is Sane in Art"
New York City
FIFTH AVENUE at 5
Former Union Clul
qi 3TA.I(J ,.II
Vol. II., Plate 19
HENRY VIII
National Gallery, Rome
r<
uu
i IE
Central Terminal * ioruiei uuiuh vjiuu >*
PORTRAIT OF HENRY VIII AT ROME 103
formerly in the Corsini Collection, is a three-quarter length, and is
inscribed across the plain background, on either side of the head,
" Anno- ^tatis- sv^e- xlix," and was, therefore, painted in 1539 or
1540. In dress and position it closely follows Van Leemput's copy, and
the Windsor and other versions, in which the left hand holds the dagger-
cord. With the exception of the substitution of brown fur for ermine,
and different embroidery on the upper sleeves, the Rome and the
Windsor portraits are in exact agreement as to the costume. The
face in the Rome portrait is decidedly younger than in the Warwick
and Windsor versions, as the date would indicate, so that it is
possibly one of the earliest of the contemporary copies, taken directly
from the wall-painting under Holbein's own supervision. It is
undoubtedly the best of the later portraits of the King, the face
being full of character finely rendered, and it is regarded by a number
of modern critics, including Dr. Ganz, as a work from Holbein's own
brush.
An important example of this type of the portraits of Henry VIII
is the three-quarter length belonging to St. Bartholomew's Hospital,
London, which was last exhibited at the Burlington Fine Arts Club
in 1909 (No. 23). The dress is very similar to the Warwick portrait.
The King is grasping in his left hand a black staff mounted in gold.
The background is dark, and on it is inscribed : " Anno dni 1544.
^ETATis svje 55," which is incorrect, as Henry did not enter his fifty-
fifth year until 1545. 1 The portrait in Windsor Castle,2 which, as
Mr. Ernest Law points out, is the only contemporary likeness of Henry
in the whole of the royal collections which has anything of an Holbein-
esque character, was evidently copied from the Whitehall fresco. In
the attitude and in the details of the dress it follows the original with
considerable closeness, though slight differences are to be noted, as
in the position of the right hand, which is here placed over the sword-
1 There is another version of this portrait with the black staff in the left hand at Chatsworth,
in which, Mr. S. Arthur Strong says, "the drawing of the features is masterly, and the detail is
minute and searching without being petty ; but here again the effect is flat, and we feel that
Holbein himself would have better conveyed the sense of roundness and depth . . . On the whole,
there is a French rather than a German look about this picture, which suggests the possibility
that it may have been painted at the time of the Field of the Cloth of Gold." — Critical Studies and
Fragments, p. 91, and PI. ix. i.
2 Reproduced by Law, Holbein's Pictures, &c, PI. v. ; Davies, p. 165 ; Knackfuss, fig. 126 ;
Pollard, Henry VIII, frontispiece (in colour) ; Cust, Royal Collection 0/ Paintings, Windsor Castle,
PL 49 ; Ganz, Holbein, p. 222.
104 " SERVANT OF THE KING'S MAJESTY"
belt, instead of below it as in Van Leemput's copy. Its agreement
with the Rome portrait has been already pointed out. The face,
however, more closely resembles the Warwick portrait. Mr. Ernest
Law suggests that it was executed several years later than the Holbein
prototype, by some pupil or imitator, such as Guillim Stretes, after
the master's death,1 the general attitude, pose, dress, and accessories
of the original being carefully adhered to, but the features modified,
and the beard shown as thinner and turning grey, to suit his added
years, though in outline they still closely resemble Holbein's drawing
at Munich. The size of the panel is 3 ft. 3| in. high x 2 ft. 5J in.
wide. It may be the picture which was No. 866 in James II's cata-
logue : ' King Henry VIII at half-length, with gloves in his right
hand " ; though this description suits equally well the smaller portrait
(18 in. x 16 in.) at Hampton Court, No. 606.
Another good version of this portrait, with the left hand on the
dagger-cord, is the half-length belonging to the Earl of Yarborough,
while an excellent example of the Warwick Castle type, with a cane
substituted for the dagger, was lent by Lord Sackville to the Burlington
Fine Arts Club in 1909 (No. 21).
There is also an excellent portrait of the Warwick type in the
collection of the Duke of Manchester at Kimbolton Castle.2 It is on
panel, 35 in. x 25 in., and closely resembles the picture in the National
Portrait Gallery (No. 496) (35^ in. x 26J in.), which is attributed to
Luke Hornebolt.3 The latter had at one time a coat of arms on the
frame indicating that it belonged at some period to the Nassau family.
It may have been taken over to Holland at the time of the marriage
of Princess Mary, daughter of Charles I, to William of Orange, in 1641.
There are three other portraits of the King in the National Portrait
Gallery, while other versions or old copies exist at Castle Howard,
and at Serlby, the seat of Viscount Galway. The latter (35 in. x 27 in.)
has an inscription on the background giving the King's titles and the
date 1547, the year of his death. Another (36 in. x 30 in.), at one time
in the collection of Mr. Henry Willett, and now in the Brighton Art
Gallery, is said to have been taken from a wainscot in King's Walden
House, Herts, formerly the residence of Anne Boleyn.
1 HolbeirCs Pictures, &c, p. 13.
2 Tudor Exhibition, 1890, No. 97, and reproduced in the Catalogue, p. 48.
8 Reproduced in Mr. Cust's illustrated Catalogue of National Portrait Gallery, vol. i. p. 23.
"HENRY VIII WITH A SCROLL" 105
All these portraits, whether by the Hornebolts or less important
copyists attached to Henry's court, are based on Holbein's Whitehall
painting. There is, however, one other representation of Henry VIII,
of about the date of Holbein's first entry into the royal service, which
is of a very different character, and was not painted under the in-
fluence of the great German. This is the fine picture at Hampton
Court (No. 563 (313)), generally known as " King Henry VIII with a
Scroll."1 He is seen at half-length, with head turned slightly to the
right, but eyes to the front. He has reddish hair, and a small thin
beard and moustache, and his eyes are dark grey. He wears a doublet
of cloth of gold, cut square across the chest, covered with strings of
pearls, and slashed with rows of white puffs, above which his white
frilled shirt is seen. Over this is a sable-furred cloak. His black
cap has a medallion, with figures of the Virgin and Infant Christ in
enamel, and a white jewelled feather. In front of him is a table or ledge
with a crimson cushion, on which his right hand is placed, and a scroll
of white paper, one end of which he holds between the thumb and
forefinger of his left. On it is inscribed a sentence from the Gospel of
St. Mark in Roman lettering : " Marci — 16. Ite in Mudvm Vniversv
et predicate Evangelivm omni creatvrse." The background is a rich
green. It is on panel, 2 ft. 4 in. high x 1 ft. 10 in. wide.
The probable authorship of this painting has given rise to much
discussion and difference of opinion. It has been attributed at
different times to Holbein, Janet, Joos van Cleve, and Girolamo da
Treviso, and even to Toto or Penni. Dr. Woltmann considered it
to be the work of a Frenchman, whereas Mr. Wornum was inclined
to attribute it to an Italian hand, possibly Da Treviso. The one
thing certain about it is that it is not by Holbein. There is an equal
difference of opinion as to the date. The King has so youthful a
look, as compared with the Hardwick cartoon and the Munich drawing,
that some writers hold that he cannot have been more than thirty-
eight — certainly not more than forty — when it was painted. This
would make the date about 1529, in which year Holbein was in
Switzerland. On the other hand, there are two facts which point to
a later date — the arrangement of the hair and beard, and the text
on the scroll, which, taken together, make it highly probable that the
portrait was painted in 1536. It was on the 8th of May 1535 that
1 Reproduced by Law, Royal Gallery at Hampton Court, p. 204.
106 "SERVANT OF THE KING'S MAJESTY"
Henry, in imitation of Francis I, ordered all about his court to cut their
hair short and to grow their beards — " the King commanded all
about his court to poll their heads ; and to give them example he
caused his own head to be polled, and from thenceforth his beard to
be knotted and no more shaven." * In the picture both hair and beard
are treated in the new fashion. Again, on October 4th of the same
year the printing of Coverdale's English version of the whole Bible,
for which Holbein designed the title-page, was finished, and in 1536
Henry ordered a copy of it to be laid in the choir of every church,
" for every man that will to look and read therein ; and shall dis-
courage no man from reading any part of the Bible, but rather comfort,
exhort, and admonish every man to read the same." To this the
text on the scroll which Henry holds in the portrait clearly refers ;
and further evidence is supplied by the Bible frontispiece, in which
the King is shown under a canopy, with a sword in his right hand, and
a clasped Bible in his left, which he is handing to his kneeling bishops.
One of the little pictures which form the border of the title-page, in
which our Saviour is exhorting His disciples to preach the Word
throughout the world, has the same text (Mark xvi. 15) inscribed below
it. The evidence, therefore, is very strongly in favour of the assump-
tion that the portrait was painted to commemorate Henry's share in
the publication of Coverdale's English version of the Bible. Against
these two arguments in favour of the date 1536, the compilers of the
catalogue of the Burlington Fine Arts Club Exhibition point out that
the King does not look more than thirty, which would place the
portrait at about the date of the meeting with Francis I at the Field of
the Cloth of Gold in 1520. " The portrait of Eleonora of Spain, wife of
Francis I, also at Hampton Court," they say, " is evidently by the
same hand ; and the smaller portrait of Francis I, also at Hampton
Court, is either by, or a copy after, the same painter. These circum-
stances would point to a possible French origin, and lend some colour
to the ascription of the portrait either to " Sotto " Cleef, who worked
in France before coming to England, or to Jean Clouet — more probably
the latter, who may very well have been in attendance on Francis I
at the Field of the Cloth of Gold." 2 It is difficult, however, to follow
these writers in their conclusion that the portrait of Eleonora, almost
certainly by the elder Clouet, and the portrait of Henry VIII are by
1 Stow's Annates. 2 Burlington Fine Arts Club Exhibition Catalogue, p. 81.
"HENRY VIII WITH A SCROLL" 107
the same hand, while the fact that in all the earlier portraits of the
King he is shown with long hair, cut straight across the forehead, and
no beard, makes it still more difficult to accept the date as that of the
meeting of the two monarchs in France, unless much stronger evidence
as to its French origin be forthcoming. It is not safe to go farther
than to ascribe it to a Franco-Flemish origin. It should be noted in
passing that a small point in favour of those who see in it a work by
an Italian hand lies in the scroll or cartellino, a feature not often met
with in French or English portraits of that time.
On the back of the panel is branded Charles I's cypher, and there
is also a slip of paper on which is inscribed in contemporary hand-
writing, " Changed with my Lord Arundel, 1624." In Charles' cata-
logue, compiled in 1639, ft *s entered as " King Henry VIII when he
was young, with a white scroll of parchment in his hand ; the picture
being to the shoulders ; half a figure so big as the life, in a carved gilded
frame. Length 4 ft. 0. A Whitehall piece, said to be done by Jennet
or Sotto Cleve." It is possibly the picture in the Commonwealth
inventory — " King Henry ye 8th by Gennett," which was " sold to
Mr- Baggeley ye 23rd Oct. 165 1 for £25." It may also be the " Table
with the picture of King Henry VIII, then being young," in Edward
VFs catalogue. An early and interesting copy of this picture, on
canvas, 28| in. x 22^ in., is in the possession of the Merchant Taylors'
Company, which was in the Tudor Exhibition, 1890 (No. 120), and the
Burlington Club Exhibition, 1909 (No. 24). In the catalogue of the
former exhibition it was attributed to Paris Bordone. It was pre-
sented to the Company in 1616 by Mr. John Vernon. There is a
third version of the picture in the Marquis of Exeter's collection at
Burleigh House, in which the same Latin verse is inscribed on the
scroll. Dr. Waagen says that "it is very carefully painted in a
brownish tone." l
In addition to the Hardwick cartoon and the Munich drawing
there is a third portrait of Henry existing which can be attributed
almost certainly to Holbein's hand. This is the beautiful little
panel in Lord Spencer's collection at Althorp (frontispiece),2 which
measures only 10J in. x y\ in. It is a half-length, three-quarters to the
1 Waagen, Treasures of Art, &c, iii. p. 407.
2 Woltmann, 1. Reproduced (in colour) by the Medici Society ; Masterpieces of Holbein
(Gowan's Art Books, No. 13), p. 7 ; Burlington Fine Arts Club Exhibition Catalogue, PI. x. ;
Ganz, Holbein, p. 120.
108 " SERVANT OF THE KING'S MAJESTY"
right. No hair is visible under the cap or beside the ears ; the hairs of
the close-cropped fair beard and moustache are drawn with minute care.
The eyes are clear blue-grey. He wears a black cap trimmed with
jewels and loops of pearls and a white feather falling to the left. His
gown of cloth of gold is lined with brown fur, over a light grey doublet
cut low at the neck, embroidered with an elaborate pattern in black,
trimmed with j ewels and slashed and puffed with white. The white shirt
has a high collar fitting close round the neck, embroidered with a rich
design in gold, and with a very small frill. On his breast is a round
jewel suspended by a chain of spiral black and gold beads and H's.
The hands are shown in part, the left at his side, and the right hold-
ing a glove. The background is a plain bright blue.
It is a miniature painting of unusual size, and is drawn with
extraordinary delicacy and truth, and there is an exquisite finish in
all the details of the dress and ornaments, and a harmony in the
colour, which no other painter then practising at the English court
but Holbein was capable of producing. The first impression it gives
is that, in spite of its beauty and brilliance, it yet displays certain
differences from Holbein's usual style which renders its attribution to
him not absolutely certain ; but repeated examination modifies this
first impression, and it becomes impossible not to agree with such
critics as Dr. Woltmann, Mr. Lionel Cust, and Dr. Ganz, who are
emphatically of opinion that Holbein was the author of it. It is im-
possible, again, to find any other painter who could have produced
so vivid and striking a portrait of the King, and so accomplished a
work of art. Mr. Roger E. Fry describes it as one of Holbein's most
miraculous pieces of craftsmanship. "It is little more in scale than
a large miniature, and Holbein has treated it with all the skill in
minute delineation which he alone possessed, and that without losing
for a moment unity of tone and breadth of feeling ; but, wonderful
as it is, it gives one scarcely any idea of an actual character. Holbein
seems never to have read anything behind the expansive mask of his
royal patron ; whether he abstained out of discretion or failed from
want of interest one can but guess." 1 After examining the Munich
head, however, it is difficult to agree with Mr. Fry's opinion that
Holbein saw nothing of Henry's real character. The Althorp panel
is almost identical in position and dress with the original cartoon for
1 Burlington Magazine, vol. xv., May 1909, p. 74.
PORTRAIT OF HENRY VIII AT ALTHORP 109
the Whitehall wall-painting, and it is probable that Holbein intended
to use it as his model for the latter. It must have been painted in
1537, before the wall-painting itself was begun, or at least before the
change in the position of the King's head was decided upon. It
may be the portrait which in the inventory of Henry VIII's pictures,
made at his death, was joined to that of Queen Jane Seymour in a
diptych — " Item, a table like a booke, with the picture of Kynge
Henry theight and Quene Jane " ; though, if so, the corresponding
portrait of Jane Seymour is lost, for the one of that queen in the
Vienna Gallery is much larger than Lord Spencer's portrait. The
latter was at South Kensington in 1862 (No. 2651), and again in 1865
(No. 2028), and at the Burlington Fine Arts Club, 1909 (No. 38).
There is an excellent contemporary copy of it in the National
Portrait Gallery (No. 157), x iof in. xj\ in., on copper, which was
purchased in 1863, and was formerly in the collection of Mr. Barrett,
of Lee Priory, Kent. When in his possession it was engraved in line
for Singer's edition of Cavendish's Life of Wolsey, 1825. The back-
ground is now very dark, but in the engraving it is shown to be a
curtain. This is the chief point of difference between it and Lord
Spencer's panel. There is also a somewhat weak copy of it among
the miniatures in the Duke of Buccleuch's collection, which, like the
original, has no inscription. It has suffered extensive repairs at
some time or other, and the eyes are now a bright chestnut colour,
evidently due to the ignorance of the restorer. Other miniatures of
Henry VIII, attributed to Holbein, are dealt with in a succeeding
chapter.2
Jane Seymour was the first of Henry's queens to be painted by
Holbein. The various portraits of Katherine of Aragon and Anne
Boleyn still existing are not by him, and it is evident that the artist
did not enter the royal service until after Anne's execution on 19th
May 1536, and Henry's very precipitate marriage with Jane Seymour
on the following day. Portraits of both these ladies are usually
ascribed to Holbein by their owners, according to the prevailing fashion
of earlier days, when everything dating from Tudor times was un-
hesitatingly given to him. Shortly before Holbein's return to Eng-
land in 1532, Katherine of Aragon had permanently retired from court,
1 Reproduced in the illustrated Catalogue, National Portrait Gallery, vol. i. p. 23.
* See pp. 233-6.
no " SERVANT OF THE KING'S MAJESTY"
and in the seclusion of The Moor, deserted by the King, her thoughts
fully occupied with her impending divorce, it is not likely that she
would have any desire to sit for her portrait, or to command Holbein
to visit her for that purpose. There is more probability that Anne
Boleyn may have been painted by him, but as no such portrait has
been discovered, it must be taken for granted that he did not. The
head among the Windsor drawings, inscribed " Anna Bollein Queen," 1
has been wrongly named, and bears no likeness to the few portraits
which may be said with some degree of certainty to represent her.
Much information respecting the portraits of these two queens will
be found in the papers read by Mr. John Gough Nichols and Sir George
Scharf before the Society of Antiquaries in 1863 and published in
Archczologia.2
There is no evidence to show that Holbein painted either Katherine's
daughter, Mary, or Anne's daughter, Elizabeth, though here again
portraits of them exist which in less critical days were said to be by
him. The drawing in the Windsor Collection inscribed " The Lady
Mary after Queen," 3 has no claim to represent Queen Mary, nor is
there any known portrait of her which bears any likeness to Holbein's
style of painting. The Princess Elizabeth was ten years old at the
time of the painter's death, whereas the youngest portrait of her
extant is the very interesting one at the age of about fifteen or sixteen
in the Royal Collection,4 which was included in Charles I's catalogue
as " A Whitehall piece of Holben," and said to represent " Queen
Elizabeth when she was young, to the waist." This is probably a
work of Franco-Flemish origin, and has nothing to do with Holbein,
who, if he had painted her, must have shown her as a little girl. Mr.
Nichols, in his paper mentioned above, states that " there can be little
doubt that Holbein drew the King's natural son, Henry FitzRoy,
Duke of Richmond and Suffolk, who lived until the 22nd July 1536,"
but no such portrait or drawing of him can be discovered. There is,
however, among the Windsor heads, a drawing of his wife, Mary,5
daughter of Thomas, third Duke of Norfolk, and sister of Henry, Earl
1 Woltmann, 323; Wornum, ii. 18; Holmes, i. 25. Reproduced by Davies, p. 214, and
elsewhere.
2 Vol. xl. pt. i. pp. 71-88.
3 Woltmann, 331 ; Wornum, ii. 39; Holmes, ii. 15. Reproduced by Davies, p. 216.
4 Reproduced by Cust, Royal Collection of Paintings, Windsor Castle, PI. 48.
8 Woltmann, 324 ; Wornum, ii. 17 ; Holmes, ii. 23.
PORTRAIT OF QUEEN JANE SEYMOUR in
of Surrey, both of whom sat to Holbein. It is a fine drawing, but very
badly rubbed. She is represented full face, with the eyes cast down,
and wearing a close-fitting white cap or hood, and a large flat black
hat with a big ostrich feather. The dress is powdered with the letter
R, which in some cases seems to be formed of pearls, while the letter M
also occurs twice. This fashion of wearing an initial letter, usually
as a pendant ornament, was by no means unusual at that period, and
occurs in more than one of Holbein's portraits. The drawing of the
Duchess is inscribed " The Lady of Richmond."
It is not until we come to the portrait of Queen Jane Seymour
in the Imperial Gallery, Vienna (No. 1481) (PI. 20), * that we are on
certain ground. This is a genuine work of Holbein of very fine quality.
She is shown almost to the knees, the body and head turned slightly
to the left, and her hands clasped in front of her. She is dressed in
red velvet, with hanging sleeves covered with gold embroidery, and
under-sleeves of lilac-grey watered silk with an elaborate pattern,
worked with seed pearls, and slashed and puffed with white. The
cuffs have a deep border of wonderfully painted black Spanish work.
She wears two heavy necklaces, of jewels and pearls, and a band of
similar ornament along the edge of her square-cut bodice, and an
ornament at the breast composed of the initials I.H.S. and three
pendant pearls. Her head-dress is of the angular English pattern.
The inner cap, which completely hides her hair, is of brown silk with
a black stripe, and the jewelled band or framework is of the same
pattern as the border of the dress. The body of the head-dress is
cloth of gold, with the customary black fall. The background is of
dark grey-blue without inscription. The colour scheme is rich and
harmonious, but delicate and pearly in tone, and a considerable amount
of gold has been used in the painting of the jewels, and the gold tissue
and embroidery of the cap. Once again the extraordinarily fine paint-
ing of the hands has to be recorded ; they are full of expression and
character. There is less expression in the face. She has no great
pretensions to beauty, and her complexion is pale, thus agreeing with
all contemporary accounts of her appearance. In a singularly frank
letter from Chapuys to Antoine Perrenot, dated London, 18th May 1536,
which was intended for the Emperor's ears, the Spanish ambassador
1 Woltmann, 252. Reproduced by Davies, p. 170; Knackfuss, fig. 127; Vienna Catalogue,
p. 345 ; A. F. Pollard, Henry VIII, p. 232 ; Ganz, Holbein, p. 119.
ii2 "SERVANT OF THE KING'S MAJESTY"
says : " She is sister to one Edward Semel, of middle stature, and no
great beauty, so fair that one would call her rather pale than other-
wise. . . . The said Semel is not a woman of great wit, but she may
have good understanding. It is said she inclines to be proud and
haughty. She bears great love and reverence to the Princess (i.e.
Mary). I know not if honors will make her change hereafter." 1
He then proceeds to throw doubts upon the lady's virtue, and to
speak in coarse innuendo of Henry's matrimonial ventures. The
panel, which is probably the one which was in the Arundel Collection,
measures 65 cm. by 48 cm., and is of the same size as the portrait
of Dr. John Chamber ; they are the largest of Holbein's works in the
Vienna Gallery. This portrait was evidently the one seen by Van
Mander in Amsterdam in 1604. He says : " There was, at Amsterdam,
in the Warmoesstraat, a portrait of a Queen of England, admirably
executed, and very pretty and nice ; she was attired in silver brocade,
which appears to be genuine silver with some admixture, and it was
depicted so transparently, curiously, and exquisitely, that a white foil
seemed to lie beneath." 2
The original study for this portrait is in the Windsor Collection.3
It is a fine drawing of very delicate draughtsmanship, and shows more
of the figure than most of the sketches in the series, the folded hands
being included. Several replicas of the picture still remain in England,
the two best of which, excellent contemporary copies, are in the Duke
of Bedford's collection at Woburn Abbey, and in that of Lord Sack-
ville at Knole. The latter was in the Tudor Exhibition, 1890 (No. 44),
and the Burlington Fine Arts Club, 1909 (No. 46). Another version
is in the possession of the Duke of Northumberland. Hollar made an
admirable engraving from the Arundel version, a small circle dated
1648 (Parthey 1427) ; and there is at Windsor, as already noted, a
miniature painted from it by Nicholas Hilliard, which is inscribed
" Ano Dni 1536 iETATis sym 27." 4 Hilliard, no doubt, found this
inscription on the original from which he worked, but nothing of the
kind is now discernible either on the picture in Vienna or Lord
1 C.L.P., vol. x. 901.
2 Quoted by Woltmann, Eng. trans., p. 398.
3 Woltmann, 325; Wornum, ii. 22; Holmes, i. 1. Reproduced by Davies, p. 170, and
elsewhere.
* See p. 91. Reproduced in Burlington Magazine, vol. viii., Jan. 1906, PI. ii. (9), in an
article on " Nicholas Hilliard" by Sir Richard Holmes.
. .
Vol. II., Plate 20
QUEEN JANE SEYMOUR
Imperial Gallery, Vienna
PORTRAITS OF QUEEN JANE SEYMOUR 113
Sackville's version. It may, however, have been taken from one of
the numerous miniatures of this Queen, dealt with in a later chapter.1
This inscription is valuable as giving the probable date at which
Holbein painted the Queen, and proves that he was in the royal
service as early as in the summer of 1536. Very probably the
portrait was afterwards used by him as the basis for the head and
position of Jane in the Whitehall wall-painting. There is an excellent
old copy of the portrait in the Hague Gallery (No. 278) which shows
slight differences.2
In addition to this portrait, Holbein prepared a design for a large
gold cup, bearing the initials of Henry and Jane, and the latter's
motto, evidently intended as a present from the King to his consort.
The finished drawing is in the Bodleian Library, Oxford, and there is
another version of it in the British Museum. It is the most important
of Holbein's designs for goldsmith's work which has been preserved,
and is described in a later chapter.3 Henry VIII appears to have been
genuinely devoted to his third wife, but his happiness was short-lived,
for she died on October 24, 1537, twelve days after the birth of her
son, Edward VI, her death being due to carelessness on the part of
her attendants.
Not a single dated portrait of the year 1537 remains, nor is there
one which can be ascribed with any certainty to this year. Possibly
the great Whitehall wall-painting and other works for the King
occupied much of Holbein's time.
1 See pp. 237-8. 2 Reproduced by Ganz, Holbein, p. 195. * See pp. 274-5.
VOL. II. / H
CHAPTER XX
THE DUCHESS OF MILAN
Search for a queen to succeed Jane Seymour — Negotiations in France and Brussels — The
Duchess of Milan — Hutton's description of her — Her portrait by some unknown Netherland
painter— Philip Hoby sent over with Holbein to obtain her portrait — Cromwell's instructions
to them— Hutton's letter describing their visit — The small oil painting at Windsor —
Description of the picture in the National Gallery — Continuation and final failure of the
marriage negotiations — History of the picture — Purchased for the English nation by the
National Art-Collections Fund for ,£72,000 — Portrait of the Duchess as a child by Mabuse.
N the very day of Jane Seymour's death, the King and
his Council began, with almost indecent haste, their
search throughout the Courts of Europe for a new
queen to fill her place. Henry's ambassadors and
agents were instructed to make discreet inquiries as
to suitable candidates, and before the close of the
year a number of names had been submitted to him for his
consideration. In spite of this unseemly expedition, however, nearly
two years were to elapse before the final choice was made, for
it was not until the very end of 1539 that Anne of Cleves came to
England as Henry's fourth queen. Throughout the whole of 1538
marriage negotiations, which in the end proved fruitless, were
carried on simultaneously with Francis I and the Emperor Charles V.
Though Henry was anxious to marry again, in order that the
succession, which rested on the precarious life of one infant
Prince, might be made more assured, yet his search for a bride
both in France and in Imperial circles at one and the same time
was undertaken quite as much for political as for matrimonial
reasons. It was his main object at that time to prevent any close
understanding between his two rivals. With Charles and Francis
united, and Europe at peace, there was nothing to prevent a coalition
against England and an enforcement of the papal excommunication
of Henry by force of arms. By playing oft one monarch against the
other with the bait of a proffered matrimonial alliance he hoped to
keep the two apart, and by such means ensure the security of his
"4
SEARCH FOR A FOURTH QUEEN 115
throne, and be at liberty to continue the severe methods by which he
sought to maintain his supremacy as self-appointed head of the English
Church.
In the course of these negotiations quite a number of ladies were
suggested, and in most, if not in all, cases, portraits of them were pro-
cured for Henry's inspection. In some instances he sent his own
painter for the purpose ; in others, what may be termed " official "
portraits, painted by foreigners, were forwarded to England by his
ambassadors abroad. Of these portraits, two — those of the Duchess
of Milan and of the Princess Anne of Cleves — were painted by Holbein,
who was despatched to Brussels and to Duren in order to take their
likenesses ; but the authorship of the others is less certain, and as
the portraits themselves cannot now be traced, it is difficult, if not
impossible, to arrive at any final conclusion respecting them. There
is much probability, however, amounting in two instances almost to
certainty, that Holbein made other special journeys, in addition to
the two just mentioned, for the purpose of painting ladies who had
been reported to the King as beautiful or desirable. These journeys
were to France, and solve, in the writer's opinion, the mysterious
journey to Upper Burgundy ; but as the negotiations for a French
marriage were running concurrently with those for the hand of the
Duchess of Milan, it will be better, in order to avoid confusion, to deal
separately with each of these proposed alliances, and the various
portraits to which they gave rise. For this reason the present chapter
is concerned with Holbein's painting of the Duchess, while in the
following one evidence is brought forward which indicates that he
also received orders from the King to take the likenesses of several
high-born ladies of France.
Shortly after the imposing funeral ceremonies of Queen Jane
Seymour, Cromwell wrote to John Hutton, the English agent in
Brussels at the court of the Regent of the Netherlands, Queen Mary of
Hungary, the Emperor's sister, to ask him to make secret inquiries
as to suitable brides for the King, and in Hutton's reply, dated
December 4, 1537, occurs the first mention of the Duchess of Milan as
a possible Queen of England. Hutton wrote :
" Uppon the recept of your letters addressid unto me by this
berrar, I have made as myche secret sherche as the tyme wold permyt.
n6 THE DUCHESS OF MILAN
The which, albeit had byn of lengar contenewance, I cold not perceve
that anny sherche cold have found wone soo notable a personage as
were meit to be lykynd to that noble Raynge. In the Court ther is
wayttyng uppon the Queyn a lady of thage of 14 yerres, daughtar unto
the Lord of Breidrood, of a goodly statwre. She is noted varteos,
sadde, and womanly ; hir beautie is competent, hir mother is de-
partid this world, who was daughter to the Cardynall of Luikes sister.
It is thought that the said Cardinall wold give a good dote to have
hir bestoid after his mynd. Ther is a widdowe, the wiche also repay-
rithe offten to the Court, beyng of goodly personage. She was the
wyffe of the late Yerle of Egmond, and, as I ame inffarmyd, she
parsithe fortie yeres of age, the wich dothe not apeire in my judgement
by hir face. Ther is the Duches of Myllayn, whom I have not seyn,
but as it is reportid to be a goodly personage and of excellent beawtie.
The Dewke of Clevis hathe a daughter, but I here no great preas
neyther of hir personage nor beawtie. I have not myche exsperiens
emonges ladies, and therfore this commission is to me very hard ;
soo that, yf in anny thyng I offend, I beseche your Lordshipe to be
my mean for pardon. I have wryttyn the treuthe, as nighe as I
canne possible lerne, levyng the further judgment to other, that are
better skillid in such matters." *
The Duchess reached Brussels shortly after this letter was des-
patched, and Hutton wrote again to Cromwell on the 9th of December,,
after a personal inspection of the lady, whom he thought to be very
like Mrs. Shelton, one of Anne Boleyn's ladies, as follows :
" The Duches of Myllan . . . arived here as ystarday, very honor-
ably acompenyd as well of hyr owen treyn as withe suche that de-
parted from hence to meit hyr. I ame inffurmyd she is of the age
of 16 yeres, very high of stature for that age. She is highar then
the Regent, a goodly personage of boddy, and compytent off beawtie>
of favor excellent, sofft of speche, and very gentill in countenance.
She werythe moornyng aparell aftre the maner of Ytalie. . . . She
resemblythe myche wone Mystris Shelton, that somtyme watid in
Court uppon Queyn Anne. She ussithe most to spek Frenche, albeit
that as it is reportid she can [speak] Ytalian and Highe Almeyn. I
1 C.L.P., vol. xii. pt. ii. 1 172. St. P., viii. 5.
HUTTON'S LETTERS ABOUT THE DUCHESS 1 1 7
knowlige my self of judgment herein very yngnorant, albeit I have
inployd my wittes to sartime your Lordshipe off the trewthe." l
In a transcript of the same letter, addressed to Thomas Wriothesley,
one of Cromwell's secretaries, and despatched to England on the same
date, Hutton added :
" Ther is non in theis parties off parsonage, beawtie, and byrthe,
lyke unto the Duches off Myllayn. She is not soo pewre whyt, as
was the late Qweyn, whois soal God pardon ; but she hathe a syngular
good countenaunce, and when she chancesithe to smyl, ther aperithe
two pittes in hir cheikes, and wone in hyr chyne, the wiche becommythe
hyr right excellently well." 2
He wrote still further in her praise in a third letter to Cromwell,
dated December 21 :
" Synns my letter of the 4th sent unto your Lordshipe by Fraunces
the corror, I wrot your Lordshipe wone other of the 9th, wherin I
sartified the arivall of the Duches of Myllan, withe my judgement of
hir personage and beawtie. Synns wiche tyme I have dayly notid
hir gestur and countenance, the wiche presentithe a great majestie
with myche sobrenes, soo that in the furtherance of that matter I
thynke your Lordshipe shuld doo highe sarvis to the Kynges Highness,
and to the whole commune welthe of his Realme like promt." 3
These descriptions were considered to be so satisfactory that
Hutton's other suggestions were discarded, and the young Duchess
selected as a possible wife for Henry, if good terms could be arranged.
Christina of Denmark, youngest daughter of King Christian II of
Denmark and Isabella of Hungary, sister of Charles V, was born in
1523, and had been married, in 1534, when only eleven years of age, to
Francesco Maria Sforza, the last Duke of Milan, who died in the
following year, October 24, 1535. She was now in her sixteenth year,
and as the niece of the Emperor, a marriage with her, so Henry and
his Council considered, would be of great political advantage, as it
would give the world a proof that his quarrel with Charles over the
divorce of Katherine of Aragon was at an end. Henry, therefore,
1 C.L.P., vol. xii. pt. ii. 1187. St P., viii. 6.
2 C.L.P., vol. xii. pt. ii. 1188. St. P., viii. 7.
3 C.L.P., vol. xii. pt. ii. 1243. St. P., viii. 8.
n8 THE DUCHESS OF MILAN
wrote on January 22, 1538, to Sir Thomas Wyat, his ambassador in
Spain, ordering him to suggest the marriage to the Emperor, who in
his reply, sent through his representative in London, Eustace Chapuys,
declared that he would be glad to treat of it. Henry, who naturally
wished to see the lady, if possible, before committing himself too far,
began to throw out suggestions that she should be brought to Calais,
in order that he might make her acquaintance, but this proposal was
displeasing to the other parties concerned ; and so, as the next best
thing, it was determined to obtain her portrait. Hutton was in-
structed to procure one if he possibly could, and he wrote to Cromwell
on February 21, describing a dinner-party he had attended given by
the " Ladie Marqueis of Barrough," at which she promised to show
him, when finished, a portrait for which the Duchess of Milan was
sitting, and for the purpose of which she had put off her mourning
dress. This picture, apparently, was to be given to the Lady Marquis.
He told Cromwell :
" The Lady Marqueis demaundid of me, yff the letters, wiche I
had delyverid the Queyn, cam from the Kynges Highnes my master.
Unto wiche I made answar that the cam frome the Empror. Then
she said that when she sawe me delyver them, hir hart rejoissid,
thynkyng ther had byne some good newis consarnyng the Duches of
Myllain, of whom she made great preis, as well for hir beawtie, favor,
wisdom, as for hir myche gentilnes. All wiche saynges I afftrmyd.
Withe that she said, yf I had seyn hir owt of hir mornyng aparell, so
gorgeosly as she had seyn hir the day beffore, I wold have marveillid,
for she said, to tell me in secret, she cawssid hir pikture to be made,
wiche beyng fenisshed, the Duches had promissid to give it unto hir,
soo that she of hir owen motion said, assone as it cam to hir handes I
shuld have a sight therof." x
He goes on to describe an interview with the Duchess on the
following day, in which she complained of the rain, telling Hutton,
" This wether likythe not the Queyn, for She is therby pynnyd upp,
that She cannot ride abrode to hunt. Then I demandid if Hir Grace
did not love huntyng. She answered, ' Non better,' and soo pawssid.
" She spekithe French, and semythe to be of fewe wordes. In
hir spekyng she lispithe, wiche dothe nothyng mysbecom hir. I
1 C.L.P., vol. xiii. pt. i. 326. St. P., viii. 14.
HOBY AND HOLBEIN GO TO BRUSSELS 119
canot in anny thyng perceve, but she shuldbe off myche sobreness,
and very wisse and no les gentill. It may pleis your Lordship to
consedar that my poore knowlege is not to give anny judgement in
suche matters, but only to showe my openyon. And for that it wilbe
yet theis 8th dais, beffore I can com by hir pikture, I thought it my
duetie to sartifhe your Lordshipe the premissis ; and incontinent the
said pikture shall com to my handes, it shalbe sent your Lordshipe
with spedy deligence. Advertissyng the Lady Marques that I did
send it unto Barough, for that my wiffe had myche dessire to se the
Duches." 1
Matters seemed now to be progressing so favourably that it was
decided to send over Philip Hoby to Brussels, with some show of
secrecy, for the purpose of a personal interview with the young lady,
and, as Henry was very anxious to obtain an accurate likeness of her,
it was also arranged that Holbein should go with him, without waiting
for the portrait which Hutton hoped to secure.
Philip Hoby, who was born in 1505, was the son of William Hoby,
of Leominster. His zeal for the Reformation commended him to
Henry VIII and Cromwell, by whom he was constantly employed
from 1538 onwards in diplomatic services at the courts of Spain and
Portugal, and on special missions elsewhere. He was one of the
gentlemen ushers of the King's Privy Chamber, and took part in the
siege of Boulogne, being rewarded with knighthood immediately after
the conquest of that town in the autumn of 1544. He was made
Master of the Ordnance and admitted to the Privy Council in 1552,
and died in 1558. From his correspondence he appears to have been
a man of culture and refinement. Holbein made two, if not three,
journeys abroad in his company, and painted his portrait, though its
whereabouts is not now known, but the drawing for it, in which he is
shown with a scanty beard and long thin moustache, is in the Windsor
Collection.2
Cromwell's instructions to Hoby were as follows :
' Instructions given by the L. Cromwell to Philip Hoby sent over
by him to the duchess of Lorraine then [to the] duchess of Milan.
" To repair to Mr. Hutton and tarry secretly at his lodging until
he shall have been with the Regent. Then upon Hutton's advertise-
1 C.L.P., vol. xiii. pt. i. 326. St. P., viii. 14.
2 Woltmann, 302 ; Wornum, ii. 7 ; Holmes, i. 40.
i2o THE DUCHESS OF MILAN
ment to go to the Duchess, present Cromwell's commendations and
say that no doubt she had heard from the Lady Regent and by the
relation of the King's ambassador there, the cause of his coming and
Cromwell's inclination to the advancement of the same as is declared
' in the letter.' He shall then beg her to take the pain to sit that a
servant of the King, who is come thither for that purpose, may take
her physiognomy ; and shall ask when Mr. Hanns shall come to her
to do so. The said Philip shall as of himself express a wish that both
for my Lord's reports of her virtues and for his own view of them, it
might please the King, being now without a wife, to advance her to
the honour of a queen of England. 'And he shall well note her
answers, her gesture and countenance with her inclination, that he
may at his return declare the same to the King's Majesty.' Her
picture taken, he and Hanns shall return immediately."1 Hoby was
also supplied with a second document, in which all that he was to say
to the Duchess was carefully drawn up for his guidance.
In the heading to these instructions, which is written in a later
hand than the body of the document, the words " to the " in square
brackets have been inserted by the editor of the Calendars of Letters
and Papers, &c. In doing this he has been misled by a very similar
set of instructions issued to Hoby on the eve of a mission to Lorraine
in August of the same year, which is dealt with in the next chapter.
He thus reads the heading as indicating that Hoby was to go first of
all to the Duchess of Lorraine and afterwards to the Duchess of
Milan, and that the one set of instructions was to serve for the two
visits. The inserted words, " to the," however, are not needed.
Christina, a few years after Holbein painted her, married, in 1540,
Francois, Duke of Bar and Lorraine, and the writer who added the
heading to the copy of Hoby's instructions quite correctly describes
her as the Duchess of Lorraine, " then (or " at that time," i.e. at the
time of Hoby's journey to Brussels) Duchess of Milan." This is a
small point, but it is necessary to draw attention to it, as it has to do
with Holbein's subsequent journey to Upper Burgundy.
The two travellers left London on the 2nd or 3rd of March, and
reached Brussels on the evening of the 10th. The next day was
spent in preliminary interviews, Hutton having audience with the
Lady Regent and the Duchess in the morning, and Hoby delivering
1 C.L.P., vol. xiii. pt. i. 380(2).
HOBY AND HOLBEIN IN BRUSSELS 121
his message to the latter in the afternoon. All going smoothly,
Holbein was fetched to the court at one o'clock on the 12th, and
accomplished all that he had to do within three hours, to the great
admiration of Hutton, who considered that he showed himself to be
a master, and that the likeness was very perfect. The English agent,
the day before their arrival, had already despatched a portrait of the
lady to London — in all probability the one promised him by the
Lady Marquis — but after seeing Holbein's beautiful drawing, he sent
a messenger post haste to stop the bearer of the first picture, which
he now regarded as but " slobbered " in comparison with the other.
Hoby and Holbein, who started upon their homeward journey on the
evening of the 12th, appear to have taken this inferior picture with
them, so that Cromwell might compare the two. There is no evidence
to indicate by whom it was painted, but as the lady was represented
in gay apparel, it must have been in marked contrast to Holbein's
study and the full-length portrait he afterwards painted, representing
her in her Italian widow's weeds. It is possible that this picture is
still in existence in England, and its discovery would be most
interesting.
Hutton's letter to Cromwell, describing all that took place on
the occasion, is a long one, but as it is one of the few important
documents still existing in which Holbein is mentioned by name, it
cannot well be omitted here. It is dated March 14, 1538, and runs as
follows :
" My moste bounden duetie remembered unto Your good Lord-
shipe. Pleasithe the same to be advertissid, that the 10th of this
present monethe in the evenyng arivid here your Lordshipis sarvand
Phillip Hobbie, acompenied with a sarvand of the Kynges Majesties
namyd Mr Haunce, by wiche Phillip I recevyd your Lordshippis
letter, beryng date at Saynct Jamys the second day of this present.
Theffect wherof apercevyd, havyng the day beffore sent wone of my
sarvandes towardes youre Lordshipe withe a picture of the Duches of
Myllain, I thought it very nessisarie to stey the same, for that in my
openion it was not soo perfnght as the cawsse requyrid, neyther as
the said Mr Haunce coold make it. Uppon wiche determination I
dispached another of my sarvandes, in post, to returne the same,
wiche your Lordshipe shall receve by this berrar. The next mornyng
122 THE DUCHESS OF MILAN
aftre the arivall of your Lordshippis said sarvand, I did adresse my
selff unto the Lady Regent, declaryng unto Hir that the night past
ther arivid at my lodgyng a sarvand of your Lordshippis, withe wone
other of the Kynges Majesties ; by wiche your Lordshippis sarvand I
had recevyd commiscion to sartiffie Hir Grace that thEmprors Am-
bassadors, resident with the Kynges Majestie my master, had made
ernyst overture unto your Lordshipe for a marriage to be treatid
betwixt the Majestie of my said master, and the Duches Grace of
Millain. To the wiche albeit your Lordshipe was of no les good
inclination for the furtherance of the same, then the said Ambassadors
were, yet your Lordshipe thought it not exspedient to be broken unto
the Kynges Highnes, withowt havyng some further occation mynistrid
for the openyng of the same. And for as myche as your Lordshipe
had hard great commendation of the furme, beawtie, wisdom, and
other verteos qualiteis, the wiche God had indewid the said Duches
with, you cold perceve no mean more meit for the advauncement of
the same, than to procure her perffight pictur ; for wiche your Lord-
shipe had sent, in compeny of your said sarvand, a man very excellent
in makyng off phisanymies ; soo that your Lordshippis desire was that
your said sarvand myght in moste humbleist wisse salute the Duches
Grace, requyryng that hir pleisur might be to apoynt the tyme and
place, wher the said paynter might acomplische his charge. The
Regent, when I began to declare this forsaid purpos, stud uppon hir
feit ; but, aftre She had a littill ynclyng to what effect the same wold
com, She did sit do wen, not movyng, till I had fenisshid all that I had
to say, and then answered as foloythe : ' I thanke yow for your good
newis. This is not the first report that I have had of the good in-
clination that the Lord Crumwell hathe to thEmprores afferris, for
recompence wheroff I trust he shall not fynd Us ingrat. And as to
his desire in this behalff, it shall gladly be accomplisshid.' Then I
said, ' Madam, I have yet further commiscion, wiche is to sartiffie
the same unto the Duches Grace.' Hir answar was, that She wold
goo to Councell, and when the Duches cam to hir oratorie, I myght
[have] very good oportunitie to talke withe hir. Withe that the Regent
departid towardes the Councell Chamber, and I taried the Duches
commyng ; who beying com to hir oratorie, wher as remenyd no moo
but two of hir ladeis, I sartiffied Hir Grace the woll effect of your
Lordshippis commission consarnyng Phelipe Hobbie, whom, when
HUTTON'S ACCOUNT OF HOLBEIN'S VISIT 123
Hir Grace wold give awdiens, wold more ample sartiffie your Lord-
shippis pleisur. She made answar that, if ever it shuld ly in hir powar,
the good will of your Lordshipe shoid towardes hir, wiche she in no
part had desarvid, shuld not remeyn unrecompencesid ; and that as
to your said request it was not to be denyed, albeit that she, beying
ther withe the Queyn hir awnt, thought it not meit to make anny
graunt therunto withowt hir consent, wiche she wold move to obteyn
at the first convenient leisar, that she myght have with the Queyn
consarnyng the same. Commandyng to be called unto hir wone,
naymd the Lord Benedike Court, who next unto Monsur de Correra
is cheiff about hir ; whoo beyng com, she said unto hym, ' Goo withe
thAmbassadour and entarteyn a gentilman that is at his lodgyng,
and knowe wher you shall fynd hym at suche tyme as I shall send yow
for hym.' This done, wee tooke ower leve of Hir Grace, and cam to
my lodgyng, wher the said Lord salutid Phillip Hobbie, communyng
together in the Italian tunge a sarten space, and then tooke his leve
to repaire agayn to the Court ; wiche I percevyng, requyrid hym to
take the portion withe us at dynnar, wiche he promissid to doo ; but
aftre beyng otherweis myndid, he sent us woord that he cold not com,
but wold see us aftre dynnar ; wiche apoyntment he kept. For at
two of the cloke in the aftrenoon he cam for Phillipe to com speke
withe the Duches his mystres : who can make relation to your Lord-
shipe more at large what passid at the tyme. The next day foloyng,
at wone of the cloke in the aftrenoon, the said Lord Benedike cam for
Mr. Haunce ; who havyng but thre owers space hathe shoid hym self
to be master of that siens, for it is very perffight ; the other is but
sloberid in comparison to it, as by the sight of bothe your Lordshipe
shall well aperceve. The same night Phillipe tooke his leve of the
Duches. I inffurmyd the Lady Regent that the said Phillipe wold
gladly, accordyng to your Lordshippis commandment, have com to
have done his duetie unto Hir, to have knowen what further sarvis
Hir Grace wold commaund hym ; but dowttyng he should be notid,
wherby myght be discoverid that wiche till then was kept secret as
coldbe. She answarid that it shuld not neid, reqwiring me, that I
wold make hir most effectios commendations, by my letters, unto
your Lordshipe, and that yow shuld here frome Hir more at large
by thEmprors Ambassadour resident with the Kynges Majestie. To
sartiffie your Lordship of hir sobreness, wisdom, and other varteos
124 THE DUCHESS OF MILAN
qualities shulde be but superfluitie, for this berrar can sartiffie your
Lordshipe therof at length." 1
The Queen Regent wrote to Eustace Chapuys in London, directly
after Hoby's departure, saying that : "I deem it opportune to ac-
quaint you with a fact, of which you are not perhaps aware, namely,
that Sieur Cromwell has sent here expressly a man, besides a message
by ambassador Hauton, to the effect that the Emperor had proposed
to the King, his master, the marriage of my niece, the dowager duchess
of Milan, with honourable and advantageous conditions ; that he
(the Emperor) offers to help efficiently towards it, and wishes it to
take place before King Francis becomes aware of it. Cromwell asks
that the man be allowed to see and talk with my said niece, and take
her portrait in order to show it to the King and give him greater
desire to see her. This I have allowed, and the man has actually
returned to England with the portrait, well satisfied with the personal
appearance and manners of my said niece, who has not failed on the
occasion to thank Cromwell for his offers and show of affection." 2
From Chapuys' reply to her, dated March 23, we learn that
Hoby and Holbein reached London on March 18, and that the King
was delighted with the latter's handiwork. He tells her :
" On the very same day, the 18th, the painter sent by this King
to Flanders came back with the Duchess' likeness, which, I am told,
has singularly pleased the King, so much so, that since he saw it he
has been in much better humor than he ever was, making musicians
play on their instruments all day long. Two days after he went to
dine at a splendid house of his, where he had collected all his musicians,
and, after giving orders for the erection of certain sumptuous build-
ings therein, returned home by water, surrounded by musicians, and
went straight to visit the duchess of Suffocq, the mother-in-law of the
duke of Norfolk, and the wife of his brother, and ever since cannot be
one single moment without masks, which is a sign he purposes to
marry again, unless he does all that by way of dissimulation whilst
the bishop of Tarbes is here still." 3
For the cost of this journey Hoby received £23, 6s. 8d. from the
1 C.L.P., vol. xiii. pt. i. 507. St. P., viii. 17.
2 C.L.P., vol. xiii. pt. i. 419. Spanish Calendar, vol. v. pt. ii. 217.
3 C.L.P., vol. xiii. pt. i. 583. Spanish Calendar, vol. v. pt. ii. 220.
+ +
4
ALFRED SWOBODA
WIEN, VIII.
Rlbertplatz 5/18
Holbein Hans, der Jiingere
"Bildnis einer Frau"
Hot museum - Vienna.
PORTRAIT OF THE DUCHESS AT WINDSOR 1 2 5
royal purse, which is noted in the book of the King's household ex-
penses for March 1538. " Item paid to Philip Hoby by the kinges
commandment certifyed by my lord privy seal lettre for his coste and
expences sent in all possible diligence for the kinge affaires in the
parties of beyonde the See. xxiij li. vjs. viij^." 1
No doubt the portrait which so delighted the King was one of
those masterly studies in black chalk touched with colour, such as
the " John Godsalve " among the Windsor drawings, from which
Holbein afterwards painted the magnificent full-length now in the
National Gallery. He could not have done much more than this in
the three hours which was the whole time allowed him for the sitting.
Sir Claude Phillips, however, is of opinion that it must have been
something more than a drawing, however consummate — perhaps a
finished sketch of the head only in oils. "It is difficult to believe,"
he says, " that a layman would express so enthusiastic an approval
of a drawing of modest dimensions, and (if it followed the usual
Windsor type) of modest aspect. Neither sketch, however, nor
drawing is known to exist." 2
It was suggested by the late Sir George Scharf, F.S.A., that the
small oil panel, showing the Duchess to the waist, which is practically
a replica of the upper half of the National Gallery picture, is the
original study made by Holbein in Brussels. This portrait, then
unnamed, he discovered in 1863, in a small apartment in Windsor
Castle, and it was described by him in a paper read before the Society
of Antiquaries, and published in Archceologia, with a good lithograph
of the picture by T. H. Maguire.3 It is on wood, 17 in. high by 13 in.
wide.
" The picture by Holbein," says Sir George, " could only have
been a drawing or a painting on rather a small scale, inasmuch as it
had at once to be conveyed by a messenger to England, and one of
the objects of Hutton's letter was to show the diligence with which
the King's commands were executed and to announce the coming of
the picture. The scale and workmanship of the picture before us
are exactly such as might have been expected from a first-rate painter
and tactician under such circumstances. All essential points are
1 C.L.P., vol. xiii. pt. ii. 1280 (f. 6).
2 Daily Telegraph, May 8, 1909.
3 " Remarks on a Portrait of the Duchess of Milan, recently discovered at Windsor Castle,
probably painted by Holbein at Brussels in the year 1538," Archceologia, 1866, vol. xl. p. 106.
126 THE DUCHESS OF MILAN
observed with scrupulous fidelity, and, certainly, as far as internal
evidence extends, without flattery. It is not to be supposed that
Holbein did nothing to the picture beyond the term of the three
hours' sitting afforded by the Duchess. Having secured all the
essential points of likeness, and given the general colouring, he doubt-
less spent some time in further finishings from memory. But time
must have been given for the picture to dry."
Wornum, however, refuses to accept Sir George's ascription.
" The head is vigorously painted," he says, " and very natural ; it
shows, however, no complete finish, which, if the picture referred to,
is exactly what one would expect ; but it lacks also the mastery one
would expect to find in a free sketch by Holbein. The hands are
inferior, but they appear to have been partly repainted ; the back-
ground has also been entirely repainted. ... In its present state, it
looks much more like a clever study from the Arundel picture, than its
pattern ; anyhow the distance between them is immense, but this
does not prove much, for a very inferior master to Holbein could
elaborate a magical effect from a mere rough sketch, provided this
possessed the real germs of truth in it." 1
Woltmann, too, was of opinion that this small panel was not an
original work by Holbein. " We cannot find in the picture at Windsor,"
he says " that freedom and bold masterly style which absolutely belong
to a sketch from life, and which alone could have excited such lively
admiration in John Hutton. The picture at Windsor is very pretty
and graceful, but has something almost sober in its treatment. It
can indeed be just as little a copy from the large painting. It exhibits
some differences in the costume, for instance, a somewhat larger fur
collar, and another position of the fingers, although the characteristic
attitude of the hands is essentially the same. Christina also wears
three rings instead of a single one ; namely, a black widow's ring on
the little finger of the right hand, and on the next finger a gold hoop
with a square black stone. We might, therefore, believe that this is
a copy by another hand of the sketch Holbein painted from life. In
favour of this opinion, we find the head, which the sketch naturally
gave most distinctly, by far the best part of the painting, while the
rest, which was only indicated in the sketch, appears far weaker." 2
Sir George Scharf describes with care the many small differences
1 Wornum, p. 313. ■ Woltmann, 1st ed., English translation, pp. 426-7.
THE ARTIST AT THE EASEL (1924)
LOVIS CORINTH
MEMORIAL EXHIBITION
LOVIS CORINTH
(1858-1925)
PAINTINGS • WATERCOLORS • DRAWINGS
I FRIF <;T FTIFMMF
PORTRAIT OF THE DUCHESS AT WINDSOR 1 2 7
between the two works. In addition to the three rings instead of
one, mentioned by Woltmann, the fur of the dress in the smaller
picture is much deeper and has every appearance of being a wide fur
collar separate from and placed over the black dress. In the larger
portrait the fur is much narrower, and evidently forms the lining and
collar of the outer robe, a narrow edging of it being shown down the
front. In the National Gallery picture, too, this outer robe is open
several inches in front, showing the under-dress of black and the
knotted ribbon at the waist, all of which are missing in the Windsor
panel. Again, though the hands holding the gloves have the same
general position in both, the position of the fingers shows considerable
variation. In the smaller portrait the two last fingers of the right
hand and the two middle ones of the left are bent inwards ; in the
larger, the only bent fingers are the two last of the left hand. There
are some other minor differences which need not be specified.
Both pictures at one time belonged to Henry VIII, and are included
in the inventory of that King's " money, jewels, plate, utensils, apparel,
wardrobe stuffs, goods and chattels, consigned to the care of Sir
Anthony Denny at Westminster." The volume, now in the Record
Office, is dated April 24, 1542. They appear again in a similar in-
ventory, made after Henry's death, taken " by vertue of a Com-
mission under the greate seale of England, bearing date at Westminster
the viij day of September, in the first year of our Sovereyne Lord
Edwarde the Sixte " (1547). In these, the smaller panel is described
as " Item, a Table with a Picture of the Duchesse of Myllayne."
Woltmann's conjecture that it is a contemporary copy made from
Holbein's original sketch appears to be the true one, though for whom
made it is now impossible to say. There seems to be no reason why
Henry, having the full-length panel in his possession, should have
commissioned this smaller and inferior one. If ordered by Thomas
Cromwell, which is not very likely, it may have reached the King in
the form of plunder after the former's execution ; if done in order to
be sent to the Duchess herself, it is strange that it should have re-
mained in England. In any case, it cannot have been the " slobbered "
work which Hutton, in his eagerness to serve his royal master, had
hurriedly despatched on its way to London on the eve of Holbein's
arrival in Brussels. All the evidence points to the latter as being the
portrait of the Duchess " out of her mourning apparel " which was
i28 THE DUCHESS OF MILAN
to be given to the Lady Marquess, who had promised to show it to
Hutton when finished, as his letter tells us. Hutton, pleading urgency,
and knowing that the latter lady was in favour of the match, in all
probability borrowed it, or begged it as a gift.
This portrait of the Duchess of Milan,1 70 in. by 32 in. (PI. 21),
is incomparably the greatest work from Holbein's brush now remaining
in England ; it is, indeed, in many respects his masterpiece. It is
of additional interest and value, too, as being the only full-length, life-
size portrait of a lady painted by him. She is represented standing,
facing and looking towards the spectator, her hands in front of her hold-
ing her gloves. She is dressed in mourning apparel as the widow of
Sforza, a gown of plain black satin tied round the waist with a black
cord, and a long black cloak reaching to her feet, lined with yellow sable,
with a collar of the same fur, open in the front sufficiently to allow a part
of her dress to be seen. At her neck and wrists are white frills with a
narrow black edging, and on her head a closely-fitting black cap, which
covers all her hair, and a part of her forehead. The gloves are pale
buff, and her only ornament is a gold ring with a red stone, probably a
cornelian, on the third finger of her left hand. The floor on which she
stands is of pale yellow-brown colour, though no floor-boards are
indicated, and the background is a plain one of deep blue, now almost
black, only broken by the white cartellino over the sitter's left
shoulder, which is affixed to the wall with four dabs of red sealing-wax.
Holbein made the choice of a true artist in thus depicting her in
her widow's weeds instead of in all the bravery of the court dress
which she was again beginning to assume. The effect of fine rich
colour produced by this wonderful rendering of a plain black costume
is masterly, but in no way detracts the attention of the spectator
from the grace of the slender form and the vitality and subtle ex-
pression of the face, as more elaborate accessories might have done.
The whole panel is painted with the utmost simplicity and directness,
and yet is stamped with real grandeur of style in every delicate stroke
of the brush. The modelling of the flesh is rendered with extraordinary
delicacy, while the tints are unusually transparent, and a faint rosy
glow of health just flushes her cheeks. Her dark brown eyes, from
under fair eyebrows, look out upon the world with an intensity of
1 Wol'tmann, 2. Reproduced by Pollard, Henry VIII, p 250 ; Davies, p. 172 ; Ganz, Holbein
p. 121 ; and elsewhere.
■'./-. I'l ,.]1
Vol. II., Plate 21
THE DUCHESS OF MILAN
1538
National Gallery, London
NATIONAL GALLERY PORTRAIT 129
expression which is surpassed in few, if any, portraits by the greatest
masters ; the red lips are full of character, but not more so than the
hands, which are exquisitely painted. In the painting of hands
Holbein was always a master, but he never accomplished anything
finer in this direction than those of the young Duchess. The portrait,
indeed, bears the stamp of truth in every line. The painter, who
never exaggerated, has made no attempt to add to the lady's beauty ;
such as she was he painted her. The draperies are admirably arranged,
and the painting of fur and satin as good as anything Holbein ever
did, even in such portraits as that of Gisze. The restrained but
stately attitude of the young girl, still only on the threshold of woman-
hood, the refined, reserved, and dignified character in the fresh young
face, which, though gentle, is in no way lacking in strength, and the
sense of humour lurking in the lips, combine to produce an effect which
is fascinating in the highest degree ; indeed, in the simplicity of its
methods, the strength, refinement, and elegance of its conception, and
in its extraordinary vitality, it must always remain not only Holbein's
masterpiece in the portraiture of women, but one of the greatest
portraits in the world.
There is no doubt that Holbein painted the portrait immediately
after his return from Brussels, although some writers have suggested
that it is a year or so later in date than 1538. This conclusion is based
largely on the supposition that Holbein's visit to High Burgundy later
in the same year was for the purpose of obtaining further sittings from
the Duchess ; but this is an error, as will be shown in the next chapter.
The portrait was painted for Henry, and would naturally be done at
once, before the negotiations for the marriage were broken off, and it
remained in his collection throughout his life. Holbein was out of
England more often and for a longer period in 1538 than has been
generally supposed. In addition to at least one other continental
journey on the King's service, he was absent from about the middle of
August until nearly Christmas, and thus everything indicates that
this important panel was painted in April or May.
Another argument, advanced by Sir George Scharf in favour of
the contention that it was painted some time after 1538, is that the
name and titles of the lady written on the fictitious piece of paper
attached to the dark background near to her left shoulder, by four
dabs of sealing-wax, designate her " Duchess of Lorraine." This
vol. 11. 1
130 THE DUCHESS OF MILAN
inscription Sir George reads as : " Christine, Daughter to Christierne K.
of Denarke, and Dutchess of Lotragne and heretofore (?) Dutches of
Milan." The writing, however, is much rubbed, and is by no means
easy to decipher ; thus the word which Sir George read as " heretofore,"
Mr. Wornum considered to be " hered " (hereditary). " This," Sir
George goes on to say, " would, if the writing be contemporary with
the picture, bring the date to 1541, the year of her second marriage
to Francis, Duke of Lorraine and Barr. The style of writing on the
paper may perhaps raise some question, and may possibly be found to
belong to the period of James I, when through his Queen and the
occasional presence of Christian IV in England, a considerable interest
was felt in matters connected with Denmark." x
The inscription as it now is was probably painted over an earlier
one from Holbein's brush, for it is too badly done to be original ; but
there is no need to place it as late as Sir George suggests, for the
Lumley inventory speaks of her as the Duchess of Lorraine, so that
the alteration may have been due to Lord Lumley or his father-in-law.
It is even possible that Holbein may have placed no title of any kind
on the picture, but that the whole label was added by some other
painter employed for the purpose by the owner of Nonsuch.
In spite of Henry's admiration for the picture, the proposed match
came to nothing, though for some time Hutton continued to write
letters in her praises. Thus, on the 1st April 1538, he wrote to the
King:
" Pleasithe Your Majestie to be advertissid that synns the de-
partyng frome hence of Phillipe Hobbie, I have for the most part
byne dayly in the Queyns chambre, by cawse I myght withe the more
commoditie aperceve, whether the great modestiosnes, that is in
the Duches of Myllayn, proceid of a symple yngnorance, or of a naturall
inclination acompenid withe wisdom ; to that intent I myght the
better sartiffie Your Highnes of the same. Wherunto I have inployid
my selff withe all celeritie, havyng bothe seyn and hard hir, aswell in
matters off weight, as playing at the cardes and other pastymys, not
apercevyng in hir anny liklihod that ther is want off wit, but rather
to be estemyd, emonge the nombre of wise, the wissist. Hir sobre
and gentill demenewre is myche lawdid by all them that knowe hir.
1 Archceologia, xl. p. 109. The date of her marriage to Lorraine appears to have been 1540.
FAILURE OF MARRIAGE NEGOTIATIONS 131
Soo that I take it to be above the compas off a womans wit to dissemble
longe withe that is graven in the hart to the contrary, but I noot
that in all hir acttes she uttrithe such a myldnes, the wiche mani-
ffestithe to be wroght in hir by nature, and presarvid withe grace and
wisdom." x
In the following month (May 17) he informed Wriothesley that
" the Lady Regent, acompenyd with the Duches Grace of Myllayn
have byne dayly a huntyng, wiche is the exarsis, that the bothe moste
desyre, and have greatest delit in ; and by cawsse I have thought it
my bounden duetie to repayre wher the Duches Grace was, procuryng
occation many tymis to talke withe Hyr Grace, whom I fynd of myche
wisdom, and of as great modestiosnes, as ever I knewe anny woman.
Sithe the tyme that Phelip Hobbie departid frome theis parteis, Hir
Grace hathe, bothe by woordes and countenance, ussid towardes me
myche benyngnitie." 2
He added that he had presented the Regent with four couple of
young hounds and an ambling gelding, and had promised the same to
the Duchess, " wiche off re she gently acceptyd."
Early in June an obstacle to the match was suggested which proved
that the Emperor and his sister were only using the Duchess as a pawn
on the political chess-board, and that there was no real intention of
giving her to Henry. This obstacle was the fact that the Duchess was
a near kinswoman of the late Queen Katherine, Henry's first wife, and
that the Pope's dispensation was therefore necessary. The negotia-
tions dragged on throughout the year, Hutton suddenly dying in the
middle of them, on September 5, just when the King his master was
sending over two commissioners, Thomas Wriothesley, one of his
secretaries, and Stephen Vaughan, to treat personally with the Regent.
There is no need to record their adventures, or the manner in which
that lady continually put them off with plausible excuses. They
followed her about the country on her journey to Compiegne to meet
the King and Queen of France. On neither side was there any real
sincerity, but the Englishmen, although Dr. Edward Carne3 was sent
over to help them, could not score a point in the game. They had
several personal interviews with the Duchess, after one of which they
1 C.L.P., vol. xiii. pt. i. 656. St. P., viii. 21.
2 C.L.P., vol. xiii. pt. i. 1018. St. P., viii. 29.
3 Knighted by the Emperor some years later.
1 32 THE DUCHESS OF MILAN
reported that " she is a godly personage, of stature hiegher thenne
eyther of us, a very good womans face, and competently faire, but
very wel favored, a lytle browne." l
After another interview Wriothesley wrote to the King, on Feb-
ruary i, 1539 :
" A blinde man shuld judge no colours, but surely, Sir, after my
poure entendement, for that lyttel experyence that I have, she is
mervelous wise, very gentel, and as shamfast as ever I sawe soo wittye
a woman. I thinke her wisdome no lesse thenne the Quenes, which
in my pouer opinion is notable for a woman. Her gentlenes excedeth.
Asferre as I canne judge or here for this lytel tyme that I have been
here, I am deceyved, if she prove not a good wief, if God send her a
wise husbande ; and sumwhat the better I lyke her, for that I have
been enformed that of all the hole stock of them, her mother (Isabella,
sister of Charles V) was of best opinion in religion, and shewed it soo
farre, that bothe thEmperour and al the pack of them were sore greved
with Her, and seamed in thende to have Her in contempte. I wolde
hope no lesse of the doughter, if she might be so happye as to nestle
in Englande. Very pure, faire of colour she is not, but a mervelous
good brownishe face she hathe, with faire redd lippes, and ruddy chekes ;
and oneles I be deceyved in my judgement, which in all thinges,but speci-
ally in this kynde of judgement, is very basse, she was yet never soo wel
paynted, but her lyvely visage dothe muche excel her poincture."
Later on in the same interview Wriothesley pressed her as to her
own desire in the matter, and sang his master's praises :
" At this she blusshed excedingly, and said : ' Asfor myn in-
clination,' quod she, ' what shuld I saye ? You knowe that I am
at thEmperrurs commaundement,' and again, ' You knowe I am
thEmperours poore servaunt, and must followe his pleasour.' Your
Majesties wisedom shall easly judge uppon this, of what inclination
the women be, and specially the Duchesse, whose honest countenaunce,
with the fewe woordes that she wisely spake, together with that
which I knowe by the meane of her most secrete chamberers and
servauntes, maketh me to thinke there canne be no doubt in her." 2
1 C.L.P., vol. xiii. pt. ii. 550. St. P., viii. p. 59.
2 C.L.P., vol. xiv. pt. i. 194. St. P., viii. 137.
HISTORY OF THE PICTURE 133
This letter seems to indicate that there is no truth in the well-
known story told by Sandrart, and repeated by Walpole, that the
Duchess herself was not anxious to become Queen of England, telling
Henry's ambassadors that " she had but one head ; if she had two,
one of them should be at his Majesty's service." On the contrary,
Carne and his fellow-commissioners frequently mentioned that she
seemed bent on the alliance, and could not bear to hear of any other
marriage proposals. Among the frequenters of the English court it
was common gossip that she was very likely to be the next queen.
Thus, Robert Warner, of the Earl of Sussex's household, writing to
Lord Fitzwater on November 21, 1538, tells him that " there is small
speaking of any queen ; merely a report that it should be the duchess
of Milan. In any case it will be an outlandish woman and will not
happen till the spring." l There was also a report that the King had
sent her a diamond worth 16,000 ducats.
Early in 1539 Francis and Charles V were in full accord, and
Henry was making every possible preparation for war. The Regent
and the Emperor no longer attempted to keep up the farce of a possible
matrimonial alliance with England, though even then Wriothesley was
writing for Henry's " phisnamy," which he thought would make the
Duchess leave Emperor and all rather than be frustrated of so great
a match. In the end the three ambassadors departed for home on
March 19, though not without some trouble, as war appeared
imminent ; and thus Holbein's famous portrait remained as the only
record in Henry's possession of these long and futile negotiations.
The picture has never left England since the day it was painted.
It was in the possession of Henry VIII at the time of his death, and is
described in the inventory already mentioned, in which it is the
twelfth entry, as — " Item, a greate table with the picture of the
Duchyes of Myllayne, beinge her whole stature." According to
Mr. Lionel Cust,2 it passed from King Henry's collection to that of the
King's cousin, Henry Fitz-Alan, Earl of Arundel, after whose death it
belonged to his son-in-law, John, Lord Lumley, husband of the Earl's
eldest daughter and co-heiress, Lady Joan Fitz-Alan. It is included
in the manuscript inventory of pictures and other objects of art
belonging to Lord Lumley in the reign of Queen Elizabeth already
1 C.L.P., vol. xiii. pt. ii. 884. Ellis, 1st series, ii. 96.
2 Letter to The Times, May 5, 1909.
i34 THE DUCHESS OF MILAN
mentioned more than once. This inventory is entitled " A Certyficate
from Mr. John Lampton, Stewarde of Howseholde to John, Lord
Lumley, of all his Lo: Monumentes of Marbles, Pictures and tables
in Paynture, with other his Lordshippes Howseholde stuffe, and
Regester of Bookes. Anno 1590." The picture is described as " The
statuary of the Duchess of Myllayne, afterwards Duches of Lorreyn
daughter to Christierne King of Denmarke doone by Haunce Holbyn,"
the word " statuary " being used for a standing whole-length figure.
Against the contention that the picture passed directly from
Henry's collection into the possession of the Earl of Arundel must
be placed Carel van Mander's statement that in 1574 Zuccaro saw
it in the Earl of Pembroke's house in London. " The said Zucchero,"
he says, " was also delighted with the portrait of a certain Countess,
dressed in black satin, life size, a full length figure, unusually pretty
and well painted by Holbein, and kept in Lord Pembroke's house,
where he saw it in company with some painters and lovers of art,
and took such great delight in it, that he declared he had not seen its
like in art and delicacy even in Rome ; therefore went away filled with
admiration." x
Van Mander's book was not published until 1604, thirty years
later than this incident, and it is, of course, quite possible that either
he or Zuccaro made a mistake as to the ownership of the picture
and the place where it had been seen ; but the statement is very
definite, and must be taken into consideration in tracing the portrait's
history. In any case, there is no doubt that Lord Lumley owned it
in 1590, and that he was a lover of Holbein's works, of which he
possessed a considerable number, most of which have been referred
to individually in preceding pages, among them the great cartoon of
Henry VII and Henry VIII belonging to the Duke of Devonshire,
and portraits of Erasmus, Sir Thomas More, and Sir Henry and Lady
Guldeford, and the book of the Windsor drawings, all of which are
entered in the inventory as " drawne " or " doone " by " Haunce
Holbyn." In Lord Lumley 's collection were also portraits of Sir
Nicholas Carew, Sir Thomas Lovell, the elder and the younger Sir
Thomas Wyat, and Sir Thomas Hennege, some of which also may
well have been by Holbein, though no artist's name is placed against
them in the list.
1 See Woltmann, English translation, p. 426.
HISTORY OF THE PICTURE 135
For many years Lord Lumley resided at Nonsuch. The erection
of this palace was begun by Henry VIII in the year in which the Duchess
was painted. The house, of which Toto was probably the chief archi-
tect or decorator,1 was unfinished at the King's death, and remained
so during the reign of Edward VI ; but in that of Mary it was com-
pleted by the Earl of Arundel, who had become possessed of it, " after
the first intent and meaning of the said King his old maister." Here
Lord Lumley resided with his wife and father-in-law until the Earl's
death in 1580, when he became its owner. He added the front quad-
rangle, and entertained Queen Elizabeth there on more than one
occasion. From his hands it reverted to the Crown in 1591 in ex-
change for other property. No doubt Lord Lumley's collection of
pictures remained at Nonsuch until that year, and very possibly the
inventory, dated 1590, was drawn up in preparation for the removal
of the works of art when this transfer of estates took place.2
Upon the death of Lord Lumley without issue, it is evident that
the picture passed, with other portraits of the Fitz-Alan family, into
the possession of Philip Howard, Earl of Arundel, son of Thomas,
fourth Duke of Norfolk, and Lady Mary Fitz-Alan, younger daughter
and co-heiress of Henry, Earl of Arundel. Philip Howard was father
of Thomas Howard, Earl of Arundel, probably the greatest art-collector
the world has ever known. When in the latter's possession it was seen
by Sandrart, in 1627, who mentions it as the portrait of the King's
" incomparable beloved one, a princess of Lorraine " (unvergleichlicher
Liebstin, einer Prinzessin von Lothringen). It was entered in the
Arundel inventory of 1655 as " Duchessa de Lorena grande del
naturale."
From that time until 1909 it remained in the possession of the
Howard family. Walpole adds to his Anecdotes a note to the effect
that " Vertue saw a whole length of this princess at Mr. Howard's, in
Soho Square." 3 It was afterwards at Worksop Manor, then be-
longing to the Duke of Norfolk, and later on was removed to Arundel
Castle, where it was described in the catalogue as " a very curious
portrait of a Duchess of Milan." It was included in the exhibition
of Old Masters at Burlington House in 1880, and the Duke of Norfolk
1 See Vol. i. pp. 276-7.
2 See Cust, Burlington Magazine, vol. xiv., March 1909, pp. 366-8, and The Times, May 5,
1909 ; A. W. Franks, Archceologia, vol. xxxix. p. 35.
8 Walpole, Anecdotes, ed. Wornum, p. 72.
136 THE DUCHESS OF MILAN
then lent it to the National Gallery, where it remained on loan for
nearly thirty years. About 1908 the Duke informed the Trustees
that he was receiving large offers for the picture, which he felt bound
to consider, but that he was most anxious that, if possible, it
should be secured for the nation ; and he, therefore, gave an under-
taking that before closing with any purchaser he would first offer it
to the Gallery at the same price.
On April 22, 1909, his Grace told the authorities that he had
been offered a sum of £61,000, which he had accepted, subject to the
option granted to the National Gallery of purchasing at the same
price, and that the purchasers had consented to wait until May 1
for the completion of the transaction. As the Trustees were unable
to find so great a sum in so short a time, the Duke sold the picture
to Messrs. P. & D. Colnaghi & Co. for £61,000 on the latter date.
The purchasers then in turn offered it first of all to the nation, at the
enhanced price of £72,000, giving the Trustees a month in which to
raise the necessary fund. A determined effort to secure the picture
was then made by the chairman, Lord Balcarres, and committee of
the National Art-Collections Fund, but in spite of strenuous en-
deavours, the amount subscribed up to within a few days of the ex-
piration of the time-limit fell far short of the great sum required.
Most happily, however, at the last moment a munificent anonymous
donor came forward with a gift of £40,000, which, with £10,000 from
the Government, and other subscriptions, including one from the
vendors, enabled the Fund to complete the purchase, and thus this
great picture, undoubtedly the finest portrait Holbein ever painted,
for which more than one millionaire collector was prepared to give
an even greater price for its possession, was saved for the English
nation, and has at last found a permanent home in the National
Gallery.
It is interesting to note that this Duchess of Milan is identical
with the little dark-eyed girl wearing a peculiar hood in the well-
known picture of the three children of the King of Denmark by Mabuse,
in the English Royal Collection, now in Hampton Court. This picture
was engraved by Vertue in 1748, and was removed at that date from
Kensington Palace to Windsor. It was thought at that time — possibly
the mistake was Vertue's — to represent the three children of Henry VII,
Prince Arthur, Prince Henry, and Princess Margaret, though in
PORTRAIT OF THE DUCHESS AS A CHILD 137
Henry VIII's catalogue they were correctly named as the 'three
children of the Kynge of Denmarke." The whole matter was cleared
up by Sir George Scharf in a paper read before the Society of Anti-
quaries in i860, and printed in Archceologia.1 The original picture
appears to have been painted in the spring of 1526 at Malines, where
Mabuse was then engaged, amid other work, in restoring pictures for
the Lady Regent. From a letter from Sir Robert Wingfield to Wolsey,
written from that city on the 14th March 1526, we learn that the young
Prince of Denmark and his two sisters were then on a visit to their
aunt, " which be right goodly and fair children, specially the
daughters." 2 A letter from the Emperor to the Archduke Ferdinand,
of about the same date, also mentions this visit. " I am sorry to hear
of the death of the Queen of Denmark. Her children are with my
aunt in Flanders" 3
In Charles Ts catalogue this picture was attributed to Janet (" a
Whitehall piece thought to be of Jennet ") ; and the earliest instance
of its rightful ascription to Mabuse is in the Commonwealth inventory,
among the pictures at St. James's, where it is entered as : " Three
children in one piece by Mabuse, sold to Mr. Grinder for £10, 23rd
Oct. 1651."
Sir George Scharf, comparing this juvenile likeness with the one
painted by Holbein some thirteen years later, says : " The same
features and expression of countenance, notwithstanding the difference
of years, may be traced in both. The look of the eyes is quite the
same, and I would also invite attention to the form of the upper
eyelids which, especially in the Arundel picture, become remarkably
broad on the side away from the nose." 4 There are five or six replicas
of the Mabuse picture in this country, at Wilton, Sudeley Castle,
Longford Castle, Corsham House, and elsewhere. Other likenesses
of the Duchess are to be found on existing medals both of Sforza and
Lorraine, and in the fine engraving or etching of her by Agostino
Carracci, published in Campo's History of Cremona.
1 Vol. xxxix. p. 245. 2 C.L.P., vol. iv. pt. i. 2025.
3 C.L.P., vol. iv. pt. i. No. 2051. * Archaologia, vol. xl. p. 140.
CHAPTER XXI
THE VISIT TO "HIGH BURGONY " x
Negotiations for a French wife for the King— Marie of Lorraine, Duchess of Longueville,
afterwards Queen of Scotland— Visit of Peter Mewtas to France to obtain her portrait-
Pierre Quesnel— Louise of Guise — Holbein receives a royal licence to export beer— Hoby
and Holbein sent to Havre to take portraits of Louise of Guise and some other lady — Renee
of Guise — Expedition of Hoby and Holbein to Joinville and Nancy to obtain portraits of
Renee and her cousin, Anne of Lorraine— Cromwell's instructions — Letter from the Duchess
of Guise to her daughter, the Queen of Scotland, describing their visit — Holbein's salary and
advances of his wages — Letter from Niklaus Kratzer to Cromwell — Confusion as to the
dates of Hoby's and Holbein's continental journeys in 1538 owing to a wrong entry in the
Calendar of Letters and Papers — Holbein goes on to Basel from Nancy.
S already stated in the last chapter, during the whole
of the time the negotiations for the hand of the
Duchess of Milan were in progress, others were being
carried on concurrently for a French bride for
Henry. The King's personal inclination, indeed,
leant much more strongly towards an alliance with
France than one with the Emperor ; and on October 24th, the
very day of Queen Jane Seymour's death, Cromwell wrote to
Stephen Gardiner and Lord William Howard, then at the French
court, informing them of Henry's loss, and urging them to make
secret inquiries as to a possible successor among the princesses of
France. " Our Prince," he said, " our Lord be thanked, is in good
health, and suckethe like a child of his puissance, which youe, my Lord
William, canne declare. Our Mastres, thoroughe the faulte of them
that were about Her, whiche suffred Her to take greate cold, and to
eate things that her fantazie in syknes called for, is departed to God." 2
He went on to say that the Council were unanimously of opinion
that the King should marry again as soon as possible :
" Soo considering what personages in Christendom be mete for
Him, amonges the rest there be two in Fraunce, that may be thought
1 The greater part of this chapter appeared in the Burlington Magazine, vol. xxi., April 19 12,
pp. 25-30.
* St. P., vol. viii. (pt. v. continued) 478.
138
THE DUCHESS OF LONGUEVILLE 139
on, thone is the Frenche Kinges doughter (Margaret, afterwards
Duchess of Savoy), whiche, as it is said, is not the metest, the other
is Madame de Longevile, whom they say the King of Scottes dothe
desire. Of whose conditions and qualities in every pointe His Majeste
desireth you both, with all your dexterite and good meanes, to en-
quire ; and likewise in what pointe and termes the said King of Scottes
standeth towards either of them ; whiche His Highnes is soo desirous
to knowe, His Graces desire therin to be nevertheles in any wise
kept secret to your selfes."
The details of the careful search which was made throughout
France for a suitable successor to Jane Seymour are to be found in
the very entertaining letters written by Louis de Perreau, Sieur de
Castillon, the French ambassador in London, to Francis I and his
Grand Master, Anne de Montmorency. The negotiations necessitated
the despatch of numerous envoys and messengers, and the painting of
four or five portraits ; and there is very good evidence for the belief
that two or three of these were painted by Holbein, for which purpose
he made at least two journeys — to Le Havre in June 1538, and to
Joinville and Nancy at the end of the following August.
In the first instance, Henry's inclinations were very strongly set
upon Marie of Lorraine, the eldest daughter of Claude, Duke of Guise,
and the young widow of Charles d'Orleans, Duke of Longueville,
although she had been promised to James V of Scotland before Jane
Seymour's death. Henry knew quite well that this arrangement had
been made, but he would not listen to the names of other ladies which
were suggested to him, and maintained with great pertinacity to
Castillon that the match with Scotland had not yet been settled, and
that Madame de Longueville had not herself agreed to it. " He is
so amorous of Madame de Longueville," wrote Castillon to Francis,
on December 30, 1537, " that he cannot refrain from coming back
upon it." " I asked him," he goes on, " who caused him to be more
inclined to her than to others, and he said Wallop was so loud in her
praises that nothing could exceed them. Moreover, he said that he
was big in person, and had need of a big wife — that your daughter
was too young for him, and as to Madame de Vendosme, he would not
take the King of Scots' leavings ! " x
Either in December 1537 or early in the following January, Henry
1 C.L.P., vol. xii. pt. ii. 1285.
i4o THE VISIT TO "HIGH BURGONY"
sent over Peter Mewtas, of the Privy Chamber, to see the Duchess
secretly, and to find out from her whether she considered herself
bound to James ; and as a result of this mission he appears to have
convinced himself that, whatever Francis I might have arranged, the
lady herself and her parents were attracted by his offer, considering
an alliance with so powerful a sovereign to be preferred to one with the
" beggarly and stupid King of Scots," as Henry termed his nephew
to Castillon. There was a political attraction, also, about the pro-
posal, from Henry's point of view, for if he succeeded in taking James's
bride from him it would tend to alienate the Scots from France. •
Formal articles of marriage, however, between the lady and
James V were drawn up in January ; but in spite of this Henry stuck
to his point, and about the ist of February Peter Mewtas was again
despatched by Cromwell to find out definitely if she were still free,
and also to obtain her portrait. The instructions given him need
not be quoted here. They concluded by saying that if he perceived
any towardness in the lady, he was, if possible, to get and bring with
him " her picture truly made and like unto her." 1
Mewtas' mission proved fruitless, and he was back in London
some time before the 6th March. There is no evidence to show that
he succeeded in obtaining a portrait of Madame de Longueville, or
that he took Holbein or any other painter with him for that purpose.
The Duchess seems to have been in Normandy, possibly at Longueville
or Le Havre, and it may have been left to Mewtas to obtain the
services of some local French painter, if such an one were to be pro-
cured. It is more likely, however, that a painter would be taken
over for the purpose, though this was not mentioned in the instruc-
tions, as it was in the case of Hoby's mission to Brussels. If any one
were taken, it may have been Holbein, who was known personally to
Mewtas, for among the Windsor drawings there is one of the latter's
wife.2 This, however, is mere conjecture, and there is no evidence,
either in writing or in the shape of a drawing, to show that Holbein
took the portrait of this particular duchess ; indeed, the fact of his
journey to the Netherlands seems to point to the contrary, for Mewtas
only returned to England from France early in March, so that if
Holbein had accompanied him, he would have had to start off again
1 C.L.P., vol. xiii. pt. i. 203. St. P., viii. 10.
2 Woltmann, 339 ; Wornum, ii. 20; Holmes, ii. 16. See pp. 257-8.
PIERRE QUESNEL AND HIS SONS 141
without a moment's delay with Hoby in order to reach Brussels as
he did on the 10th of the same month. It was, of course, possible for
him to have made both journeys, but the interval between the two
was so short that extreme expedition would have been necessary.
There was, however, a French painter, Pierre Quesnel, who may
possibly have been attached to Madame de Longueville's court at the
time of Mewtas' visit ; in any case, he accompanied her to Edinburgh
two months later, and entered the service of James V. He came of a
family of portrait painters, and also practised historical painting.
His works are now unknown, but he returned to France in 1557, and
designed a painted window for the Augustins of Paris. He had three
sons, Francois, Nicolas, and Jacques. Francois,1 who was born in
Holyrood about 1543 and died in 1619, was a portrait-painter of
exceptional ability, as may be seen from the fine portrait of " Mary
Ann Walker " belonging to Lord Spencer at Althorp Park, of which
an excellent reproduction in colour has been issued by the Medici
Society in their National Portrait Series. It is signed " F. Q." in
monogram, and dated 1572. This picture was brought from France
about one hundred years ago, and was obtained from a descendant of
the lady's family. In this connection it may be suggested that the
double portrait of " James V and Marie of Lorraine," 2 in the col-
lection of the Duke of Devonshire at Hardwick, may possibly have
been, in its original state, the production of the elder Quesnel's brush.3
It must be noted, in conclusion, that there is no record in the English
State Papers of the result of Mewtas' mission, and so it is doubtful
if Henry VIII ever possessed a portrait of the lady, whether by
Quesnel, or Holbein, or any other painter, such as Hornebolt, in the
King's pay.
Marie was married to the King of Scots on the 9th May, thus
putting a final end to Henry's plans in that direction. In her place,
Francis offered him, through Castillon, the choice of any other lady
in his kingdom. He was told that " she had a sister as beautiful and
as graceful, clever and well-fitted to please and obey him as any other."
This remark bore fruit, and the next morning the King sent Sir John
1 See Dimier, French Painting in the Sixteenth Century, pp. 191 and 289.
2 Reproduced in the Burlington Magazine, Oct. 1906, p. 41, in an article on "The Portraits
of Mary Queen of Scots," by Mr. Lionel Cust and Miss K. Martin.
3 This picture was exhibited at the Golden Fleece Exhibition at Bruges in 1907 (No. 130),
as the work of an unknown Scottish painter.
i42 THE VISIT TO "HIGH BURGONY"
Russell, a member of his Privy Council, to make further inquiries.
Castillon told the latter that France was a warren of honourable ladies,
from which Henry might choose, and that Louise of Guise was the very
counterpart of Madame de Longueville. He had not seen her for a
long time, but had heard her esteemed above any other lady in the
kingdom. Russell then asked Castillon " to find some way that
Francis (to show it was not as a refusal that he could not have Madame
de Longueville, but because she was promised beforehand) should
offer him her sister, and say something of it to M. Briant (Sir Francis
Brian, Master of the Toils, then ambassador to France), who would
then send her portrait." * " Probably," added Castillon, in writing to
Francis, " he is troubled that it must be known that his great instance
made for the one is so suddenly changed for the other." Francis sent
word in reply (May 25) that he would very willingly conclude a
match with Henry and Louise of Guise ; and on the 31st of the same
month Castillon wrote to the Grand Master, Montmorency, urging
greater expedition in the matter. "If he (Henry) is to marry in
France," he said, " three or four must be put forward, but let them be
of the best and such as Montmorency shall advise as well to M. Brian
as in letters from the King to Castillon, who should also have portraits
of these put forward." 2
The narrative may be broken off here to note that Holbein, who
remained in London throughout April and May, engaged, among other
things, upon the full-length portrait of the Duchess of Milan, received,
on the 29th of the latter month, the grant of a royal licence to export
" 600 tuns of beer." It runs as follows : " Hans Holbeyn, the King's
servant. Licence to buy and export 600 tuns of beer. Del. West-
minster, 29th May 30 Hen. VIII." 3 The painter was evidently pre-
pared, when the opportunity arose, to engage in small commercial
speculations in order to augment his income, as was the case with
more than one of his brother artists attached to Henry's court. Thus,
in April 1531, Luke Hornebolt received a licence to export 400 quarters
of barley,4 and Anthony Toto, " the King's painter," was granted one
in April 1541,5 exactly similar to Holbein's, for the exporting of 600 tuns
of beer. Again, Alard Plumier, " the King's jeweller," in March 1542,6
1 C.L.P., vol. xiii. pt. i. 994. Kaulek, 47. 2 C.L.P., vol. xiii. pt. i. 1 102. Kaulek, 54.
3 C.L.P., vol. xiii. pt. i. 1099 and 1115(65). 4 C.L.P., vol. v. 220(21).
8 C.L.P., vol. xvi. 779(18). ' 6 C.L.P., vol. xvii. 220(3)
PROBABLE VISIT TO HAVRE 143
obtained grants for importing 400 tuns of Toulouse woad and
Gascon wine, and exporting 400 tuns of beer ; while, as already men-
tioned, Holbein's friend and compatriot, Niklaus Kratzer, the King's
astronomer, received a very similar licence in October 1527.1
Henry rose promptly to the bait of Louise of Guise as a wife in
place of her elder sister, now unattainable, and as usual no time was
wasted. On the 3rd of June he despatched Philip Hoby and a painter
to Havre to obtain the lady's portrait. This we learn from a letter of
Castillon's to Montmorency, dated June 4th, describing an interview
between the Duke of Norfolk and the ambassador's " secretaire a
cachetter " respecting the suggested marriage, which concludes with
the following passage : " Finally he (Norfolk) said that yesterday he
(Henry) despatched the gentleman, who wanted to go to see " (" vouloit
aller"; Kaulek reads "souloit") "Madame de Longueville, to Havre
de Grace to see Mademoiselle de Guyse ; for a Scotchman has come
hither who has said he wonders at the King of Scots taking a widow
rather than a young girl, her sister, the most beautiful creature that
ever he saw." 2 In the same letter Castillon again urges that portraits
of two or three of the ladies mentioned in his previous despatch should
be sent as quickly as possible, as the matter is pressing. In this
document there is no reference to Hoby by name, nor mention of any
painter accompanying him ; nor is there any entry in the King's
Book of Payments as to any expenses paid for such a journey either to
Hoby or any other special envoy. Hoby had paid a visit to France
earlier in the year in connection with his master's matrimonial affairs.
He had been sent over in February, at about the same time as Mewtas,
and evidently, like the latter, for the purpose of urging Madame de
Longueville to throw over James V. For this expedition he received
exactly the same sum, £23, 6s. Sd., as for his journey to Brussels in the
following March. It is entered among the royal payments for February
as " Philip Hoby, sent into France about the King's necessaries and
affairs of importance, £23, 6s. 8d." 3
But although there is no record of payment for this second journey
in June to Havre, or mention of him by name, there is no doubt that
Hoby was the envoy sent, and that Holbein accompanied him.
Evidence of this is contained in a letter, quoted below,4 from the
1 C.L.P., vol. iv. pt. ii. 3540(28). 2 C.L.P., vol. xiii. pt. i. 1135. Kaulek, 57.
8 C.L.P., vol. xiii. pt. ii. 1280 (f. 2d). * See p. 148.
144 THE VISIT TO "HIGH BURGONY"
Duchess of Guise to her daughter Marie in Scotland, dated September I,
which speaks of the arrival of Hoby and Holbein at Joinville, and
mentions their earlier visit to Havre. Contributory evidence is con-
tained in Castillon's letter of June 4, in which he describes the
messenger sent as one who had already been over to see, or to try to
see, Madame de Longueville, which undoubtedly refers to Hoby's
journey in February. According to the same letter from Joinville,
two portraits at least were painted at Havre, or rather studies made,
which would only occupy the artist for an hour or two, as in the
case of the Duchess of Milan, the sitters in question being Louise of
Guise, who was then eighteen, and some other lady — possibly Marie or
Margaret of Vendome.
Somewhere about the date of Hoby's return from Havre, a third
French candidate for Henry's hand appeared upon the scene. This
was Renee, the third daughter of the Duke of Guise, who afterwards
became abbess of St. Pierre de Reims. Castillon wrote to Mont-
morency on June 19 : " If you wish to entertain this King urge
always the marriages ; for he only waits for them to be presented, and
the pictures must be sent immediately. He has heard that Mons. de
Guyse has a daughter still more beautiful than the second. I hear she
is in a religious order, but not professed (qu'elle est en une religion, mais
ellen'est pas religieuse). You can say something of it to Mr. Bryant ;
for he (Henry) expects to be asked and to have several offered to him." 1
It will be seen from this letter that Castillon, who was probably
unaware of the steps Henry was taking to obtain likenesses by means
of his own artists, was doing his utmost, on his own account, to get
portraits of likely ladies sent over from France. In a later letter
(July 3) he harps upon the same theme. After reporting that
Henry is still in the best of humours, and is ready to meet Francis
at a house which he will have made between Boulogne and Calais,
where they can both stay for six or seven days without pomp or great
expense, he concludes by saying : " The principal point to bring him
over to the interests of Francis is that he take a wife in France, and
they must be more energetic than they have been, and let his ambassador
see and send portraits and write news ; for he wishes to be sought,
and in the seeking they will put him so far in that he cannot draw
back." 2
1 C.L.P., vol. xiii. pt. i. 12 17. Kaulek, 64. 2 C.L.P., vol. xiii. pt. i. 1320. Kaulek, 65.
HENRY'S SEARCH FOR A BRIDE 145
In his reply, dated July 10, Montmorency stated that a portrait
of Louise of Guise had been obtained for Brian, who must have
already despatched it to England. " If the King does not decide upon
her," he said, " others shall be shown to Brian." x Castillon, who, on
account of the plague in London, was then living in Chelsea, in Sir
Thomas More's old house, which had been lent to him by the King
for the summer, announced to Francis I on July 25 that Brian " has
sent the portrait of Mademoiselle de Guise, whom this King does not
think ugly, as I know by his face." 2 In spite, however, of Henry's
appreciation of the lady's charms, Castillon, in a letter to Montmorency
of the same date, urged that portraits of Mademoiselle de Vendome and
the young de Guise (i.e. Renee) should be despatched with all diligence.3
Throughout these negotiations Henry frequently suggested that a
selection of ladies should be brought to Calais for his personal ap-
proval, in charge of Francis' sister, Margaret of Navarre, or some other
high personage, such as the Duke of Guise. " The ladies he means,"
wrote Castillon to Francis on August 12, "are Mesdemoiselles de
Vendosme, de Lorraine, and the two de Guise. He has heard some-
thing of the younger of the two last, and I think he will settle on one
of them. He has a great opinion of their house." 4 This request of
Henry's gave great offence in France, which was voiced in a letter
from Montmorency to Castillon on July 29 : "To bring him thither
(i.e. to Calais), as he asks, young ladies to choose and make them
promenade on show ! They are not hackneys to sell, and there would
be no propriety in it. Henry has his choice of Mdlle. de Vendosme,
or Mdlle. de Guise, and can judge of their beauty by the portraits and
reports made to him ; and if these be not approved, there are many
other ladies from whom to choose. The selection might be left to his
ambassador, Briant, who could send portraits." 5 Even this did not
quell the King, and in the end he was informed that Lorraine was not
under the sway of Francis, and that he would have to apply for the
hand of the damsel (Anne of Lorraine) to her father and mother, and
as for the two daughters of Guise, one had already professed as a nun,
while the other, as well as the daughter of M. de Vendosme, could not
be disposed of as though they were on sale.
1 C.L.P., vol. xiii. pt. i. 1356. * C.L.P., vol. xiii. pt i. 145 1. Kaulek, 73.
3 C.L.P., vol. xiii. pt. i. 1452. Kaulek, 74. 4 C.L.P., vol. xiii. pt. ii. 77. Kaulek, 80.
5 C.L.P., vol. xiii. pt. i. 1496.
VOL. II. K
146 THE VISIT TO "HIGH BURGONY"
This official portrait of Louise of Guise by some French painter,
which Brian sent over — and possibly a second one of Marie of Vendome,
as may be inferred from the last quoted letter — must not be confused
with those privately procured by Hoby at Havre in June. These
later French portraits cannot now be traced, and it would be mere
guess-work to attempt to name the artist who was employed to produce
them ; but a careful search through the royal collections or in some
of the older houses in England might possibly result in their discovery.
Some time in August Holbein and Hoby set out together upon
their journey " into the parties of high Burgony." The purpose
of their expedition was to obtain portraits of Renee of Guise, the
Duke's third daughter, and of her cousin, Anne of Lorraine, while
Hoby was to sound the latter's father as to his inclinations towards a
possible marriage between his house and England. Hoby's instructions
from Cromwell, as given in abstract in the State Papers, run as follows :
" ' A memorial [by Cromwell] to my friend Philip Hoby touching
such matters as he hath now committed to his charge.'
" To repair with diligence where the young duke of Longueville
lies, where he shall find the two daughters of Mons. de Guyse, whom
he shall salute, declaring that having business in these parts he could
not omit to visit the one of them ' of whom he hath by his late being
there some acquaintance.' And therewith he shall view well the
younger sister, and shall require the Duchess, her mother, or whoever
has the government of them, that he may take the physiognomy of
her, that he may join her sister and her in a fair table. Which ob-
tained, he shall go to the duke of Lorraine, deliver my letter of credence,
and declare that no doubt he has heard of my good will to advance some
personage of his house to the marriage of the King my master ; and
albeit my purpose has not taken the effect I desired, yet my affection
remains the same ; and learning lately that his Grace has a daughter
of excellent quality, I directed the said Philip, who has other affairs
there, to see her and get her picture. Requiring him to show his in-
clination and devise some overture to the King, upon which I may set
forth this thing. Philip shall also speak in the same manner to the
young lady. As soon as he has gotten her physiognomy and known
the Duke's pleasure he shall return with all possible diligence." 1
1 C.L.P., vol. xiii. pt. i. 380(1).
JOURNEY TO JOINVILLE AND NANCY 147
When Marie of Guise married James V of Scotland she left her son
Francois, Duke de Longueville, behind her in charge of his maternal
grandmother, Anthoinette of Bourbon, Duchess of Guise, who through-
out 1538 was at Joinville, one of the chief residences of the family,
or at places in the immediate neighbourhood. Joinville is a small
town in Champagne, situated on the Marne between Chaumont and
Saint-Dizier, and was made a principality by Henri II in 1552 in favour
of Duke Claude's eldest son, Francois II of Guise. Mary Queen of
Scots resided there for some time when a young girl, under the care of
her maternal grandmother, the Duchess of Guise. Miss Jane T.
Stoddart, in her recently-published book, The Girlhood of Mary Queen
of Scots, describes Joinville as follows :
" The train from Bar-le-Duc passes through a fertile, well-wooded
country, with many sparkling streams and closely planted villages.
There are few more picturesquely situated towns in Eastern France
than Joinville, which lies on a branch of the Marne, in a valley over-
shadowed by undulating tree-clad heights, on one of which, until
near the end of the eighteenth century, stood the Castle of the Guises.
. . . The woods of Joinville to-day are full of singing birds. Every
variety of foliage clothes the deep ravines. The high road leading
towards Wassy is fringed with innumerable small, well-kept gardens,
and the air, on May evenings, is not only light and bracing, but sweet
with the scent of flowers. The little town must have changed very
much in appearance since the sixteenth century. It once possessed
a wall and three gates, and an old map in the Hotel de Ville shows
more than a dozen spires. ... It acquired great importance under
the first Dukes of Guise, who used it as their habitual country re-
sidence, and entertained royal personages in the Castle with regal
magnificence. That proud Castle was allowed to fall into ruins during
the eighteenth century. . . . The picturesque quays near the church,
where the grass-impeded Marne runs between rows of tall, irregularly
built houses, cannot have altered greatly since Queen Mary's time. In
unexpected corners we find whitewashed houses adorned with old and
costly sculptor's work, with carved pillars, and scrolls of vine-leaves
surrounding the porch." x
For Joinville, then, the diplomatist and the artist set out about
1 Stoddart, Girlhood of Mary Queen of Scots, chapter xxi. p. 346 et seq.
148 THE VISIT TO " HIGH BURGONY"
the middle of August. The journey was a long one, and Hoby re-
ceived in advance for travelling expenses, £66, 13s. 4^., nearly three
times as much as he had been paid for his earlier journeys to Havre
and Brussels, thus showing that the expedition was to be of consider-
ably longer duration. This payment is entered in the royal accounts
under August, anno 30, and is undated, but as may be gathered from
entries preceding and following it, it was on some day between August
11 and 22. The place of destination is not mentioned ; Hoby
is said merely to be " sent into the parts of beyond the sea with all
diligence." 1
All the information so far to be gained about this journey is con-
tained in a letter from the Duchess of Guise to her daughter in Scotland,
dated September 1, which is preserved among the Balcarres MSS.
in the Advocates' Library in Edinburgh. From it we learn that the
two travellers reached Joinville on August 30. The letter begins
by describing the health of the youthful Duke of Longueville, who was
not quite three years old, and was growing very tall and plump, and
goes on to give an account of the illnesses of various members of the
family. Louise was still ill of the fever, and had not moved from her
bed for eight days. Her brother Claude had been ill, even to death,
at Autun, but was now quite out of danger. " Your sister Anthoinette
is also ill of a fever and of a rheum, but I think she will do well. Your
aunt (the Duchess of Lorraine) is sent for to be at Court at the coming
of the Queen of Hungary, who is to be presently at Compiegne, where
the King and all the Court will be in a few days."
The letter then continues :
"It is but two days since the gentleman of the King of England
who was at Havre and the painter were here. The gentleman came
to me, pretending that he was going to the Emperor, and having
heard that Louise was ill, would not go without seeing her, that he might
report news of her to the King his master. He saw her (it was the day
of her fever), and talked with her as he had done to me. He then told
me that, being so near Lorraine, he wished to go to Nency to see the
country. ' Je me doute (doubtai) in contynent il y allet voir la
demoyselle (i.e. Anne of Lorraine) pour la tirer comes les aultres ; '
for which reason I sent to their lodging to see who was there, and
1 C.L.P., vol. xiii. pt. ii. 1280 (f. 32).
HOLBEIN AT JOINVILLE AND NANCY 149
found the said painter was there. In fact they have been at Nency,
where they spent a day, and were well entertained, and at every meal
the maztre de hotel came to eat with them, with plenty of presents.
' Vella se que j'en ay encore seu ; au pis alle sy navyes pour voysine
vostre seur se pouret estre vostre cousine.' " x
This letter fully bears out Cromwell's instructions to Hoby. It is
plain from its wording that Hoby had already obtained a portrait of
Louise at Havre, and at least one other, of some unnamed lady (" pour
la tirer comes les aultres ") ; and that the painter who had drawn
them was the painter now at Joinville. Their journey was, however,
in part at least, a failure, for their chief purpose in visiting the Duchess
was to obtain a portrait of her daughter Renee, the " religieuse."
Hoby was ordered " to take the physiognomy of her, that he may join
her sister and her in a fair table " ; in other words, he was to get a
drawing of the younger girl in order that her portrait might be painted
as a companion to the one of her sister Louise already completed, so
that they might be hung side by side in one of those double frames
hinged together of which Henry VIII had several in his collection.
Unfortunately for their purpose, Renee was not at Joinville, so that
nothing could be done, and Hoby had to be content with an interview
with Louise in her bedchamber. The fourth daughter, Anthoinette,
was at home, but she was then only a child of seven. Thanks to the
curiosity of the Duchess, however, we know that they succeeded in
the second half of their mission. They spent a day at Nancy, where
they were well received by the Duke of Lorraine, and evidently pro-
cured the drawing required, which Holbein would easily make in a few
hours. Hoby attempted to conceal the real purpose of this visit to
Nancy from the Duchess of Guise, but the lady was sharp enough to
guess what was in the wind. Whether Louise or Anne, however, it
was all in the family. "If the worst comes to the worst," she tells
the Queen of Scots, " if you do not have your sister for neighbour,
it may well be your cousin."
The letter is far from easy to decipher, owing to its extraordinary
spelling and grammar. It is difficult to gather from it which of the
two places Hoby and his companion first visited. The Duchess,
1 C.L.P., vol. xiiL pt. ii. 262. Balcarres MS., ii. 20. For the original text of this letter, see
Appendix (L).
150 THE VISIT TO "HIGH BURGONY"
writing only two days after they had been with her, says that the
envoy told her that " he wished to go to Nency," which seems to
indicate a prospective journey ; but, on the other hand, she says " they
have been to Nency," and a journey from Joinville to Nancy and
back again, together with a whole day spent at the latter place, could
not possibly have been accomplished between August 30 and
September 1, so that it looks as though they had gone straight to
the Duke of Lorraine in spite of Cromwell's instructions, and then
from there on to Joinville. The point, however, is of little importance.
Neither in Cromwell's instructions nor the Duchess's letter is
Holbein mentioned by name, but that he was the painter who accom-
panied Hoby seems certain. In less than a fortnight afterwards he
was in Basel, an easy journey from Lorraine, where he made a stay
of at least some weeks, returning to England some time before Christ-
mas, when he received from the royal purse a special reward of £10 for
his journey into " high Burgony." The entry runs as follows :
" December, A0 xxx : — Item payde to Hans Holbyn, one of the Kingis
paynters, by the Kingis commaundement, certefyed by my Lorde
pryviseales lettre, xli. for his costis and chargis at this tyme sent
aboute certeyn his gracis affares into the parties of high Burgony, by
way of his Graces rewarde, xli." 1
Wornum and other writers have assumed that this journey to
High Burgundy had to do with the painting of the portrait of the
Duchess of Milan. The former even suggests that the £10 might be a
deferred payment for the visit to Brussels in March.2 But the title
" High Burgony " was quite appropriate to the district in which
Joinville and Nancy are situate. Woltmann says that High Burgundy
was the name given to the county of Burgundy (Franche Comte),
which belonged to the Emperor, in distinction to the duchy of Bur-
gundy, which was French, and added that, in those days, the denomina-
tion would not have been impossible for Switzerland.3 It may be
taken, therefore, considering the lack of accurate geographical know-
ledge then existing in England, that the expression " High Burgony "
sufficiently indicated, in the mind of the keeper of the royal accounts,
that part of the world in which Guise and Lorraine had their head-
quarters.
That the payment of this special reward to Holbein — his travelling
C.L.P., vol. xiii. pt. ii. 1280 (f. 48). * Wornum, p. 315. 3 Woltmann, i. p. 455
THE PAYMENT OF HOLBEIN'S SALARY 151
and other expenses would be included in the sum of £66, 13s. 4^. paid
to Hoby — was deferred until Christmas was owing to the fact that,
finding himself so near Switzerland when at Joinville, he seized the
opportunity of paying a visit to his family in Basel, and so remained
absent from England for about three months in all. Another point
in favour of the contention that Holbein was abroad on the King's
business during 1538 more often than has been generally supposed,
is to be found in the fact that at the Midsummer quarter he received
three-quarters of a year's salary in advance. At Lady Day he had
been paid his customary quarter's salary : " Lady Day, Anno xxix : —
Item for Hans Holben, paynter, vii li. xs."
At Midsummer he received £30, a whole year's salary, but it in-
cluded the quarter from Lady Day then owing to him. The entry
reads : " Midsummer, Anno xxx : — Item for Hans Holbyn, paynter,
for one hole yere's annuitie advaunced to him beforehand the same
yere, to be accomptedde from or Ladye dey last past, the somme of
xxxli."
On the two following quarter-days, owing to this payment in
advance, he is entered as receiving nothing :
" Michaelmas, A0 xxx : — Item for Hans Holbyn, paynter, wages
nihil3 quia solutum per warrantum." " Christmas, A° xxx : — Item
for Hans Holbyn, paynter, Nihil."
This payment in advance has generally been regarded as a mark
of the King's special favour and as an acknowledgment of his talents
as an artist, but it was more probably due to his frequent absences
from England at that time. On the one hand, his several journeys
might well entail some amount of extra expenditure not covered by
his travelling allowances, while on the other his income would be
reduced through the limited time left him for painting the portraits
of English courtiers or German merchants. There is, in fact, no
portrait from his brush bearing the date 1538. Added to this, his
great success in painting the Duchess of Milan must be taken into
account. The King was delighted with this portrait, and his choice
would naturally fall upon the man who had painted it when a similar
journey was in contemplation.
There is one piece of evidence, however, against the assumption
that Holbein was the painter who went to Joinville, which must not
1 52 THE VISIT TO " HIGH BURGONY"
be overlooked — a letter from Niklaus Kratzer, the King's astronomer,
to Cromwell. It is a much-mutilated epistle, written in somewhat
halting and incorrect Latin. Kratzer begins by saying that he had
received, the day before writing, by a ship from Antwerp, two little
books by Georgius Spalatinus, which the author had sent to him in
order that he might present them to Cromwell. " These," he says, " I
gave to Hans Holbein (Joanni Holbein), in order that he might give
them to you." At first sight this looks as though Kratzer might have
given Holbein the books to deliver, knowing that he was about to visit
Cromwell for final instructions on the eve of his departure for High
Burgundy. The letter,1 however, is dated St. Bartholomew's Day,
August 24 (Datum Lunduni, in [festo Sancti] Bartholomei) , so that
if Kratzer had seen Holbein on August 23, the latter could not
possibly have reached Joinville by the 30th ; for although the King's
messengers were accustomed to travel with great expedition — Castillon
complains to Montmorency that the English couriers took only five
or six days between Paris and London, whereas the French messengers
took double that time — it would have been impossible, even with the
utmost speed then attainable, to reach the far borders of eastern
France within a week. But although the letter is dated " St. Bartholo-
mew's Day," it has no year-date. It has been placed under the
year 1538 by the editor of the Calendars of Letters and Papers from
such internal evidence in it as it is possible to decipher ; but it is so
badly mutilated that it is impossible to make much sense of the greater
part of it. It contains news from abroad, and mentions Burgratus,
vice-chancellor of the Duke of Saxony ; and Burgratus was certainly in
London in the summer of 1538, with other envoys from the German
Protestant princes. These envoys, however, paid more than one
visit to England. As, therefore, the letter contains no evidence
absolutely conclusive of the date 1538, it may, perhaps, be permitted
to hold the opinion that it was written in some other year, and that,
by itself, it is not sufficient to negative the strong proofs brought for-
ward to show that Holbein was the painter who made this particular
journey into France. Nor was this the only occasion on which
Spalatinus used Kratzer as the medium for sending copies of his writings
to Cromwell. On February 5, 1539, Cromwell wrote to the King,
enclosing " a book brought this morning by Nic. Cratzer, astronomer,
1 C.L.P., vol. xiii. pt. ii. 179.
THE DATE OF HOBY'S INSTRUCTIONS 153
which Geo. Spalatinus, some time schoolmaster to the duke of Saxony,
desired him to deliver to the King, on ' The Solace and Consolation
of Princes.' " 1
One other point in connection with this subject must be mentioned
before leaving it. Hoby's instructions for visiting the courts of the
Duchess of Guise and the Duke of Lorraine are not dated. The editor
of the Calendars has entered them under February 1538, together with
the very similar instructions for the visit to the Duchess of Milan,
which are also undated, placing both under the one heading, " Philip
Hoby's Missions." For the latter instructions, which he puts second,
February is, of course, the correct date, but the former should be under
August, as the preceding pages prove. Dr. Gairdner was misled, in
the first place, by the fact that in February Hoby received payment
from the royal purse for a journey to France, and, in the second,
through his misreading of the heading to the Brussels instructions, as
explained in the last chapter.2 By the insertion of two unnecessary
words,3 the last-named instructions are made to read as though it
was Cromwell's intention that Hoby, on this particular journey,
should go first of all to the Duchess of Lorraine, and then to the Duchess
of Milan. He concludes from this, in his preface to vol. xiii. pt. i.
of the Calendars of Letters and Papers, that Hoby went to France in
February for the purpose of obtaining the portraits of Marie of Guise
and her sister Louise in a single picture, and immediately upon his
return set out for Brussels to get one of the Duchess of Milan. There
is no need to quote the whole of his argument, as it is based upon a
misapprehension, for the instructions in question were undoubtedly
drawn up in August, as the letter of the Duchess of Guise, of the
1st of September, clearly proves.4
In spite of this anxiety to obtain portraits, Henry's negotiations
for a French marriage were as unsuccessful as his advances for the hand
1 C.L.P., vol. xiv. pt. i. 227. S/. P., i. 592. 2 See above, pp. 119-20.
3 " Instructions given by the L. Cromwell to Philip Hoby, sent over by him to the Duchess of
Lorraine then [to the] Duchess of Milan."
4 After pointing out that the instructions order Hoby to return home at once after obtaining
portraits of the two Guises and the daughter of the Duke of Lorraine, he continues: "Yet
instructions for his proceeding on another very similar mission seem to have been drawn up at or
near the same time ; and by these second instructions he was not to come home at all, but
proceed at once from the duchess of Lorraine in France to the duchess of Milan in the Nether-
lands. It would seem, however, that the heading to the second set of instructions has been
supplied by a transcriber of a later date, and it is clearly inaccurate." C.L.P., vol. xiii. pt. i.,
preface, p. xxxviii.
154 THE VISIT TO "HIGH BURGONY"
of the Duchess of Milan. In each case, no doubt, the proposed alliance
was largely political, though Henry seems to have been genuinely
anxious to marry Madame de Longueville, or to prevent his nephew of
Scotland from doing so, and was afterwards by no means unwilling
to take one of her sisters. Throughout the whole proceedings the
French and the Imperial ambassadors in London kept each other well
informed of what was going on, though each one was of the private
opinion that Henry was more inclined towards a bride from his country
than from the other's. Thus Chapuys, writing to Charles V early in
1539, reports that " everybody says he is much inclined to the duchess
of Milan, whom, as I was informed three days ago, by one who knows
almost all secrets, he would willingly take, even if she were delivered
to him naked without a penny." x On the other hand, Castillon told
Montmorency : " He, however, says the practice of his marriage with
the duchess of Milan still continues, . . . but I know he would
willingly return to marry Mademoiselle de Guise. If you think the
King (Francis) and Emperor should have the pastime of seeing him
thus ' virolin virolant,' I can easily get it up, provided a little good
cheer is made to his ambassador, and that M. le Cardinal or M. de Guise
caress him a little." 2 Henry, however, finally turned his attentions
in another direction, while two of the ladies he had sought were soon
married elsewhere, Louise of Guise to Charles de Croi, Prince de Chimaix,
in 1541, and Anne of Lorraine to Rene, Prince of Orange, in 1540.
The third, Marie of Vendome, died unmarried, aged twenty-two, on
28th September 1538, a week or two after Holbein was at Joinville.3
Whether Holbein painted pictures of one or all of these ladies from
the drawings he made in France it is impossible to say. The drawings
themselves cannot be traced, but this does not prove that they were
not taken, for the preliminary studies of Christina of Milan and of
Anne of Cleves and her sister Amelia have so far remained undiscovered.
Holbein and Hoby parted company at Nancy early in September,
the former to visit his wife and family in Basel, while the latter returned
post-haste to London, no doubt taking with him Holbein's sketch of
Anne of Lorraine in order to show it to his royal master. In October
Hoby set out for Spain, in connection with the negotiations for the
Milan marriage.
1 C.L.P., vol. xiv. pt. i. 37 (9 Jan. 1539.) 2 C.L.P., vol. xiii. pt. ii. 1120 (2 Dec. 1538.)
3 She was betrothed to Francois, Duke of Nevers, who married her sister Margaret before the
end of the same year.
HOLBEIN'S MOVEMENTS IN 1538 155
The contents of this chapter and the preceding one may be
summarised as follows :
February I, 1538. — Peter Mewtas sent over to France to obtain the portrait of Marie
of Lorraine, Duchess of Longueville. Early in the same month Philip Hoby was
also sent into France for the same purpose (about the King's " necessaries and
affairs of importance "), for which he was paid £23, 6s. 8d.
March 2 or 3, 1538. — Hoby and Holbein left London for Brussels to obtain the portrait
of the Duchess of Milan, reaching the latter place on the evening of the 10th.
March 12, 1538. — Holbein made his drawing of the Duchess, and the two men started
home on the evening of the same day, reaching London on March 18.
April and May 1538. — Holbein at work on the full-length portrait of the Duchess of
Milan.
May 29, 1538. — Holbein received a royal licence to export 600 tuns of beer.
June 3, 1538. — Hoby and Holbein left London for Havre to obtain the portrait of
Louise of Guise, and of some other lady, possibly Marie or Margaret of Vendome.
June 30, 1538. — Holbein received three-quarters of a year's salary in advance.
August 11-22, 1538. — On one of the days between these dates Hoby and Holbein left
London for Nancy and Joinville to obtain portraits of Renee of Guise and Anne
of Lorraine, receiving £66, 13s. \&. for their travelling expenses. They arrived at
Joinville on August 30, to find Renee absent, but were successful at Nancy in
getting a likeness of Anne. From Joinville Hoby returned to London, and
Holbein went on to Basel, which he reached before September 10. He remained
there until after October 16.
December 1538. — Holbein, upon his return to London, received a special reward of
£10 " for his costis and chargis at this tyme sent aboute certeyn his gracis affares
into the parties of high Burgony, by way of his Graces rewarde."
CHAPTER XXII
BASEL REVISITED
Holbein's return to Basel — Feted by his fellow-citizens — His prosperous condition — Proposes to
repaint his wall-decorations — Offer of a pension of fifty gulden from the Basel Town Council,
with permission to remain in England two years longer — Death and will of Sigmund
Holbein — Holbein returns to England, probably by way of Paris, in order to apprentice his
son Philip to Jacob David, goldsmith — Back in London before Christmas 1538 — Receives
a special reward for his journey to " High Burgony " — Portraits of Edward, Prince of Wales —
Guillim Stretes.
|OME nine days after Hoby and Holbein parted company
at Nancy the latter was home again in Basel after
an absence of six years.1 The journey across the
Vosges mountains would not be a long one. On
September 12, 1538, Rudolph Gwalther, then studying
in Basel, wrote to the antistes Heinrich Bullinger in
Zurich : " Hans Holbein came recently to Basel from England, and
he gives such a glowing account of the happy condition of that king-
dom, that after a few weeks' stay he means to go back again." 2
He received a very hearty welcome from the citizens, who, now
that his reputation was much more than a local one, were naturally
proud of the fact that he was one of themselves. On September 10
his fellow-burghers gave a banquet in his honour in the Guild-
house in the St. Johanns-Vorstadt, the quarter of the city in which
Holbein's own residence was situated. Matthaus Steck, the steward
of the Dominican Monastery, notes in his Book of Accounts that
he and the schoolmaster, Brother Jacob, with their wives, were
present on the occasion, and that they spent eight shillings.
There is a most interesting reference to this home-coming in Dr.
Ludwig Iselin's additions to the Faesch manuscript (discovered by Dr.
1 Unless, as suggested above (see p. 63), he had paid an earlier visit to Basel, about 1534—5*
of which, however, there is no actual evidence.
2 " Venit nuper Basileam ex Anglia Johannes Holbein, adeo felicem ejus regni statum
praedicans, qui aliquot septimanis exactis rursum eo migraturus est." This letter, which was
first quoted by Hegner {Hans Holbein der Jiingere, p. 246), is now among the Zurich State Papers
in the Antistical Archives.
156
PROPOSAL TO REPAINT WALL-PAINTINGS 157
His-Heusler), in which he says : " When he returned to Basel for a
time from England, he was attired in silk and velvet ; before this he
was obliged to buy wine at the tap." 1 In Basel, a city where wine
was both cheap and plentiful, and all men of means kept a well-stocked
cellar, to be obliged to procure it, from day to day, from the tavern
was a sign of poverty, and Iselin thus contrasts Holbein's worldly
condition before leaving Switzerland and after his entry into the
service of Henry VIII. Iselin adds, after stating that Holbein died
soon after his return to England, that " his intention was, had God
lengthened his life, to paint many of his pictures again, at his own
expense, as well as the apartment in the Town Hall. The house
' zum Tanz,' he said, was ' rather good.' " The pictures which he
wished to put in order were, of course, his wall-paintings on the ex-
terior of several of the Basel houses, done in his youth, some eighteen
years earlier, which even then were beginning to suffer from exposure
to the weather, and his frescoes in the Town Hall, some of which were
already damaged by damp. No doubt, too, he felt that he could
improve upon them, though it is interesting to note that he expressed
himself satisfied with the " House of the Dance " facade, in which he
had given the freest play to his imagination.
Twice during his absence in England, on November 23, 1533, and
January 7, 1537, he had been " laid out for the banneret " by his
Guild " zum Himmel" — that is, appointed as one of those who had to
perform the military service of the Guild, but he had ignored the
summons.2 Possibly he knew nothing about it. He had even disre-
garded the letter from the burgomaster, sent to him in September
1532, shortly after his return to England, in spite of the offer of a
pension which it contained ; for England afforded far better oppor-
tunities than Switzerland for the making of money.
The two items, from the Banner Book of the Guild " zum Himmel,"
are as follows :
" Item A0 1533 Jar vff Sunthag vor kattrinen Sind dise her noch geschriben von
bey den Ziinfften vss gelegtt vom Himels vnnd Sternen.
Erstlich zum Fenlin vnd Baner.
Zum Baner.
Hanns Holbein der Moller " (his name being at the head
of a number of other guildsmen).
1 See Woltmann, i. p. 456 and ii. p. 43.
* See Woltmann, i. p. 457. English translation, p. 430.
158 BASEL REVISITED
" A° 1537 Jar vf Sunthag noch dem nuwen Jar Sindt dise Hernach geschriben zum
Fenlin vnd zu dem Baner vss geleytt erstlich Himels vij Mann (here follow the
seven names).
Zum paner xiij man." Here follow the thirteen names, among them being " Hanns
Holbein der mailer." l
The first entry is brought forward by Mr. W. F. Dickes as one of the
strongest pieces of evidence in favour of his contention that Holbein
obeyed the request contained in the Burgomaster's letter, and returned
to Basel in the winter of 1532, and remained there throughout the
following year, so that he could not have painted " The Ambassadors "
in England in 1533. He entirely misreads the entry, however, which
he regards as a record " of monies due to Holbein for festal decorations
on behalf of the two city guilds " 2 (Von Himmel und von Sternen) ;
and he ignores the second entry, which, to be logical, should prove
that Holbein was also in Basel in January 1537. No " monies " are
entered against these items, as one would gather from his description,
so that it is difficult to see how they record sums due to the painter.
They were merely lists of names, as Woltmann points out,3 of members
of the Guilds appointed to take their turn of military service on festal
occasions. The second entry shows this even more clearly than the
first, and from it we learn that Holbein was one of thirteen members
thus appointed as banner-bearers.
It is probable that one of the chief reasons for Holbein's visit to
Basel, in addition to a natural desire to see his family, was to make
some arrangement with the Town Council for a further leave of ab-
ence. He was now in the actual service of a foreign sovereign, and
he ran the risk of losing his rights of citizenship unless he could come
to some understanding with the civic authorities. He had taken,
as we have seen, no notice of the Council's urgent request, sent after
him to England in the autumn of 1532, and he had ignored the calls
made upon him by the Painters' Guild during the six years of his
absence, for fulfilling his share of various official and ceremonial duties.
Probably he was quite unaware that such calls had been made. Now,
however, that he was in Henry VIII's pay, it was necessary that some
definite arrangement should be made, which would enable him to
remain in England at least some years longer without risk of un-
1 Woltmann, ii. p. 32, quoting from His, Die Baseler Archive, &c.
2 Dickes, Holbein s Ambassadors Unriddled, p. 3.
3 Woltmann, i. p. 457.
OFFERED PENSION BY BASEL COUNCIL 159
pleasant consequences. The Council, seeing that he had become a
painter of high reputation, known far beyond the confines of Switzer-
land, were more anxious than ever to keep him in Basel. Aware,
however, that they were not rich enough to find him employment as
remunerative as that enjoyed by him at the English court, they
effected a compromise. A document was drawn up, after consulta-
tion with the painter, in which a much more generous offer was made
to him than the one proposed in 1532. This agreement, which was
signed on behalf of the Council by Jakob Meyer, " zum Hirschen,"
after extolling Holbein's reputation as a painter, offered him a pension
of fifty gulden a year, with permission to remain in England for two
years longer, during which time they would pay his wife a pension of
forty gulden. After his final return to Basel, he was still to be per-
mitted to receive service money from foreign kings, princes, nobles,
and cities, and, in order to sell his pictures, was to be allowed to
visit France, England, Milan, or the Netherlands once, twice, or thrice
a year for that purpose.
The document runs as follows :
" Master Hans Holbein the painter's Pension."
" We, Jacob Meyger, Burgomaster, and the Council of the city of
Basel, do make known and acknowledge with this letter that :
" From the special and favourable will which we bear to the
honourable Hans Holbein, the painter, our dear citizen, since he is
famous beyond other painters on account of the wealth of his art ;
weighing further that in matters belonging to our city respecting
building affairs and other things which he understands, he can aid
us with his counsel, and that in case we had to execute painting work
on any occasion, he should undertake the same, for suitable reward,
we have therefore consented, arranged, and pledged to give and to
present to the above-named Hans Holbein a free and right pension
from our treasury of fifty gulden, though with the following con-
ditions, and only during his lifetime, whether he be well or ill, yearly,
in equal parts at the four quarters.
" As however the said Hans Holbein has now sojourned for some
time with the King's Majesty in England, and according to his de-
claration it is to be feared that he can scarcely quit the Court for the
next two years, we have allowed him under these circumstances to
160 BASEL REVISITED
remain in England the two years following this date, in order to merit
a gracious discharge, and to receive salary, and have consented during
these two years to pay his wife residing among us forty gulden yearly,
i.e. ten gulden quarterly, which are to begin from next Christmas, as
the end of the first quarter. With the addition that in case Hans
Holbein should receive his discharge from England within these two
years and should return to us at Basel and remain here, that we should
from that moment give him his pension of fifty gulden, and let it be
paid to him in equal parts at the end of the quarter. And, as we can
well imagine that the said Holbein, with his art and work being of so
far more value than that they should be expended on old walls and
houses, cannot with us alone reap much advantage, we have therefore
allowed the said Holbein, that, unimpeded by our agreement, for the
sake of his art and trade, and for no other unlawful and crafty matters,
as we have also impressed upon him, he may gain, accept, and receive
service money from foreign kings, princes, nobles, and cities ; that
moreover he may convey and sell the works of art which he may execute
here once, twice, or thrice a year, each time with our special permission,
and not without our knowledge, to foreign gentlemen in France,
England, Milan, and the Netherlands. Yet on such journeys, he may
not remain craftily abroad, but on each occasion he shall do his
business in the speediest manner, and repair home without delay and
be serviceable to us, as we have before said, and as he has promised.
" In conclusion, when the oft-mentioned Holbein has paid the
debt of nature according to the will of God, and has departed from
this valley of tears, then shall this warrant, pension, and present
letter be at an end, and we and our descendants therefore are not
pledged to give aught to anyone. All upright, honourable, and with
integrity. This letter, signed with our official seal, we have given
into the hand of the oft-mentioned Holbein as a true document.
Wednesday the sixteenth day of October, anno xxxviii." *
This document shows very clearly that though the civic authorities
of Basel were anxious to retain Holbein in their service, they were
doubtful whether they would be able to find much work for him except
in the direction of an occasional wall painting or decoration of a house-
front ; and his talents, they acknowledged, were too great to be
1 Woltmann, i. pp. 458-9. English translation, pp. 430-1.
DEATH AND WILL OF SIGMUND HOLBEIN 161
devoted to nothing but the covering of " old walls and houses " with
designs. They, therefore, made many concessions, which would
enable him to pursue his art with almost the same freedom he had
hitherto enjoyed. In spite of the liberality of the terms, however,
the document remained, as far as Holbein was concerned, a dead
letter throughout the five remaining years of his life ; at least, no
evidence has so far been discovered to show that he ever visited Basel
again, though, as suggested in an earlier chapter,1 he may have done
so about the year 1541. Whether his wife received the pension of
40 gulden for the first two years is not known. There is no mention
of it in the Council's accounts, but Woltmann suggests that it may
have been given, as was often the case with pensions of this kind, out
of the monastery revenues.
Holbein was bound to return to England for at least another
six months, as he had received nine months' salary in advance, but
there can be little doubt that he had, at the time, every intention of
accepting the Council's conditions. He was, however, so popular in
England, and had so much work on hand, that he found it increasingly
difficult to leave, so that in the end his arrangement with the Basel
Council fell to the ground. It has been suggested, too, that the death
of his uncle Sigmund in Berne, in November 1540, at about the time
when Holbein was due to return to Basel, may have had something to
do with his determination to remain in England ; for Sigmund be-
queathed all his property to his " dear brother's son Hans," and it was
handed over to the latter's wife in his absence. The will, from which
we learn that " Sigmund Holbeyn " was then a citizen of Berne, and
being old, was about to make a journey to Augsburg to see his re-
lations, continues :
" In the first place, I will and bequeath to my dear brother's son
Hans Holbeyn, the painter, citizen at Basel, both as my blood relation
and my own race and name, as well as from the especial love I bear him
and from the affinity in which he stands to me, the free gift of all my
goods and property which I have and leave in the city of Berne,
namely, my house, and courtyard, and the garden behind, standing
in the Brunnengasse, on the sunny side, above by the Trom Wall,
near Gorg Zimmerman, the tailor's, house. The said property is free
1 See p. 63.
VOL. II. L
i62 BASEL REVISITED
from taxes, with the exception of five pounds interest, including
the commutation-capital, which I owe out of it to Herr Bernhard
Tillman, treasurer of the council at Berne, for money lent. Item, my
silver utensils, household furniture, colours, painter's gold and silver,
implements for painting, and other things, nothing excepted, that he
shall appropriate the same as my appointed heir, have it in his pos-
session, do with it and live as with his own possession and property,
unmolested by my sisters and by any one. What I have here be-
queathed to him, will be found noted on a separate roll, so that my
cousin can better inquire after it." x
He left what property he possessed in Augsburg to his three sisters,
Ursula Nepperschmid and Anna Elchinger in Augsburg, and Margreth
Herwart in Esslingen. The will is dated September 6, 1540, and the
testator died very shortly afterwards.
On the 18th of November the Berne Town Council wrote to both
Basel and Augsburg notifying his heirs of his decease, and on the
10th January in the following year the property was handed over to
Holbein's stepson, as the authorised agent of his mother. The con-
firmation of the testament, in the name of Hans Franz Nagely, burgo-
master of Berne, speaks of him as " the honourable and wise Franz
Schmid, citizen of Basel," and says that he brought " a procuracy and
a letter from Elsbeth, the wife of Master Hans Holbein, the painter,
citizen of Basel, and also a letter from the burgomaster and council
of the town of Basel."
This legacy would serve to some extent in place of the annuity of
40 gulden paid by the Council to Elsbeth Holbein, which would cease
when her husband failed to carry out his part of the agreement.
Woltmann suggests that she probably settled in Berne in consequence
of this bequest, in the house on the sunny side of the Brunnengasse,
although there is no documentary proof of this. On the other hand,
the inventory of her household goods and property, drawn up after
her death in 1549, and preserved in Basel, indicates that she never
permanently severed her connection with that city.
Holbein must have set out again for England shortly after the
drawing up of this agreement, and there is some reason to suppose
that he travelled back by way of Paris, taking his elder son, Philip,
with him, and apprenticing him in that city for six years to Jacob
1 Woltmann, English translation, p. 106. Original text in Woltmann, ii. p. 33-5.
PHILIP HOLBEIN AND JACOB DAVID 163
David, the goldsmith, who was a native, and still remained a citizen,
of Basel. This information is obtained from a letter addressed to
David from the Burgomaster Adelberg Meyer and the Council of
Basel, dated 19th November 1545,1 with reference to a dispute between
the apprentice and his master, the latter refusing to give him his dis-
charge on the completion of his six years' service. This letter speaks
of Holbein as deceased, and refers to Philip as a " good, pious youth,"
still in his minority, and under the care of his step-brother, Franz
Schmid.
David is informed that " it has credibly reached our ears that thou
wilt give no discharge to Philipp Holbein (but that thou hast brought
him moreover in Paris before the Lord- Lieutenant) , although he has
served thee honestly and honourably his six years, which were pro-
mised by his father, the deceased Hans Holbein, our citizen, now when
he, at befitting opportunity, desires to depart from thee, and this not
alone on account of his honest and honourable service, as was thy duty
before God and in all honour. Thus thou addest one cause of complaint
to another, and aimest at oppressing the good, pious youth as far as
thou canst and in causing his ruin. This thine unfriendly conduct has
caused us not a little regret ; we had in no wise foreseen it, but had
rather hoped that if any one sought to hinder another in his success and
welfare, thou would'st have taken up his cause and protected him. . . .
Besides, this Philipp Holbein is in his minority, and is under the care
of Franz Schmid, his brother, our citizen, and without his help and
authority is qualified for no lawsuit ; it is our pleasure, therefore,
and we herewith request thee as our citizen, that thou forthwith and
immediately breakest off the complaint brought by thee against Philipp
Holbein and allowest him, kindly and friendly to depart from thee, and
because he has served thee honestly and truly, that thou givest him a
good sealed letter of discharge, of which he may make use. In all this
we express our earnest will and command ; we have also written to the
Lieutenant who is judge between you both, our citizens, not to continue
the proceedings, and to refer you both hither." The letter concludes by
saying that if David feels he has a just claim against Philip, he is to
cite him before the municipal court of Basel, when full justice shall be
done. A letter to the same effect, and of the same date, was sent to
Philip, ordering him not to enter into any further law proceedings in
1 Discovered, and first published, by Dr. His-Heusler.
1 64 BASEL REVISITED
Paris, but to take his discharge and return to Basel, where his case
would be decided by the municipal authorities.1
It seems clear from this letter to David that the dispute arose
shortly after the completion of Philip's six years of apprenticeship,
in which case the boy must have been left in Paris in the autumn of
1539, and not of 1538. If that was so, then Holbein cannot have
personally apprenticed him on his return to England from Basel, and
Philip must have gone there a year later in charge of someone else.
It is possible, however, that Holbein took his son with him to England,
and kept him there for twelve months or so, sending or taking him
to Paris in 1539. It is usually supposed that the boy in the family
group of 1528 represents Philip, the elder son, born about 1522. In
the picture he appears to be five or six years old. He would thus be
about fifteen or sixteen in 1538 — rather a late age upon which to
enter his apprenticeship — and twenty-two at the date of the letter,
which, however, speaks of him as still a minor.2
Holbein was back again in London some time before Christmas,
1538, when he received the special reward of £10 for his journey into
Upper Burgundy. His first work of importance after his return was a
portrait of the infant Prince Edward, then some fourteen months
old. This was presented to the King on January 1, 1539, being entered
in the roll of New Year's gifts as : "By Hanse Holbyne a table of the
pictour of the p'nce (Prince's) grace." In return he received from his
royal master a silver-gilt covered cup supplied by Cornells Hayes, one
of the King's goldsmiths. " To Hans Holbyne, paynter, a gilte cruse
w* a cover (Cornells) weing x oz. quarter."
Holbein died when Edward was just six years old, so that he cannot
have painted the various portraits of the Prince in which he is repre-
sented at a somewhat later period of life and after he was King, though
at one time they were all attributed to him. There are only three
portraits of him, and a few drawings, which show him as a child of
tender years, of which the authorship can be given to Holbein. The
picture in the Provinzial Museum, Hanover, is generally regarded as
the original work which he painted as a New Year's gift for the King.
An almost identical picture is in the possession of the Earl of Yar-
1 Woltmann, English translation, pp. 329-30.
2 It is possible that the boy in the picture is not the one who was taken to Paris, but that the
latter was a second son, born during Holbein's second residence in Basel (1528-32), whose age
would thus be in better accord with the evidence of the letter.
PORTRAITS OF PRINCE EDWARD 165
borough, which some writers regard as an unquestionable work of
Holbein, while others consider it to be merely an excellent old copy.
The Hanover picture1 is a life-size, half-length figure, facing the
spectator. The child is dressed in a red velvet coat trimmed with
gold, and sleeves of gold brocade. A red hat, with gold tags and a
large ostrich feather, tied under the chin, surmounts the closely-fitting
cap, from beneath which his fair hair falls over his forehead. His
right hand is held out with open palm, and in his left he grasps a gold
rattle. In front of him is a stone or panel on which eight lines of
Latin verse from the pen of Sir Richard Morysin are inscribed, exhorting
the Prince to imitate his wonderful father. " Little one, imitate your
father," the lines run, " and be the heir of his virtue, the world contains
nothing greater — Heaven and Nature could scarcely give a son whose
glory should surpass that of such a father. You only equal the acts
of your parent, the wishes of men cannot go beyond this. Surpass
him, and you have surpassed all the kings the world ever worshipped,
and none will ever surpass you." 2 The head stands out well against
the sky-blue background. The round, chubby face, and small fat
hands, are most truthfully and delightfully rendered, while the colour
scheme is very harmonious. It is, indeed, in all ways, a most sym-
pathetic and delightful study of childhood.
The almost equally charming little work in the Earl of Yarborough's
collection (PI. 22) 3 is practically a replica of the one in the Hanover
Museum. According to Wornum, it was at one time in the Arundel
Collection, at Stafford House, and was sold in 1720, subsequently passing
into the possession of Sir Richard Worsley, of Appuldurcombe, Isle of
Wight, and afterwards to the present owner. The same writer notes
some few peculiarities in its execution — " some defects in the right hand,
and a certain want of transparency, or a mealyness in the colouring,
that are not entirely consistent with Holbein's practice." 4 It is most
probably an old and careful copy after the original at Hanover. It
was in the Tudor Exhibition, 1890 (No. 174), and the Burlington Fine
Arts Club, 1909 (No. 62).
1 Woltmann, 165. Reproduced by Knackfuss, fig. 130 ; Pollard, Henry VIII, p. 242 ; Ganz,
Holbein, p. 122.
2 Wornum, p. 324, note.
3 Reproduced in the Catalogue of the Tudor Exhibition, 1890, p. £0; and Burlington Fine
Arts Club Exhibition Catalogue, 1909, PI. xxi.
* Wornum, p. 323.
1 66 BASEL REVISITED
Charles I had a copy of this portrait made by Peter Oliver, signed
"P. O.," and inscribed " Edwardus Princeps Films Henrici Octavi
Regis Angliae." In the King's catalogue it is described by Van der
Doort as : "22. Item, the picture of King Edward VI in his infancy,
in a red cap with a white feather, and a red coat laced with gold, and
golden cloth sleeves, holding in his left hand a round golden rattle,
and with his right hand in some action ; by a green table, whereupon
is written in white and black letters. Being in a black shutting frame.
Painted upon the wrong light. 4f in. x 2 in." A marginal note
describes it as " copied by Peter Oliver after Hans Holben, whereof my
Lord Arundel has the principal limning." Wenceslaus Hollar engraved
the picture in 1650,1 when it was in the Arundel Collection.2
The Duke of Northumberland's version, at Syon House,3 is larger,
and the Prince is shown at full length. It resembles the two others
in most particulars, and appears to be based on the same original
drawing, though the sitter looks somewhat younger. He is wearing
a jacket of patterned cloth of gold, and over it a crimson frock or coat
embroidered with golden stripes. His head is covered with a white-
edged, striped skull-cap, beneath which a fringe of fair hair falls on
the forehead ; over this is worn a red hat with a dark feather in it.
Thick-soled, broad-toed shoes complete his costume. He is standing
on a green velvet cloth edged with gold, which is thrown over an
ornamental stone tablet containing, as in the other versions, Morysin's
Latin verses. The background is a dark green curtain. It is painted
on panel, 4 ft. 3 in. high by 2 ft. 5 in. wide.
This picture has suffered considerably from rubbing and. cleaning.
The preliminary chalk drawing can be plainly seen through the thin
painting. The position of the hands — which are beautifully painted —
is somewhat altered, and the child is without his rattle. In one corner
of the tablet is inscribed " Edwardus Princeps," and in the other
'.' Filius Henrici 8," now almost obliterated. Mr. Wornum * thought
it probable that this was the New Year's gift picture, as the child
appears to be a little younger than in the Hanover and Yarborough
versions, and with a still brighter expression of face.
All three pictures seem to have been based upon the same drawing
1 Parthey, 1395.
* There were two portraits of the Prince in the Arundel Collection, both attributed to Holbein
in the 1655 inventory, and entered as " Eduardo Sesto Re d'Inghilterra."
3 Woltmann, 246. * Wornum, p. 325.
SS HTAJ4 ,.II .JOV
HOJ
EDWARD VI
IS38-9
Lord Yarborough's Collection
DRAWINGS OF PRINCE EDWARD 167
in the Windsor Collection, in which the Prince is shown full face, as a
young child, with a close skull-cap, and a black cap with a feather
above it, and a single frill round his neck.1 This drawing has been
badly rubbed. There is a second drawing in the same collection,
also full face, with hair cut closely across the forehead, and a plain black
hat (PI. 23). 2 This, too, has suffered considerable damage. The strong
brush-work of the outlines stands out with undue emphasis, owing to
the destruction of the more delicate modelling of the crayons. In this
drawing the Prince appears to be at least a couple of years older than
in the other drawing, or in the Hanover picture and its variants. He
looks quite four or five years old. Mr. Wornum thought it might
represent Henry Brandon, afterwards Duke of Suffolk, from its likeness
to the boy in Holbein's beautiful miniature, the proportions of the
face not quite agreeing with those of the infant Prince ; 3 but it is
undoubtedly a portrait of the latter.
There is a third drawing of Edward VI at Windsor, in which he
seems to be quite six, if not older. It is one of the least pleasing of
the series, and if by Holbein, must be almost the last drawing he made,
as the Prince was but six when the painter died. He is shown in
profile to the left, with hat and feather, and almost yellow hair.4
Several portraits exist which are based on this drawing, though they
are not by Holbein, among the best of them being the versions in the
National Portrait Gallery,5 the Victoria and Albert Museum,6 and the
collection of Lord Sackville. The last named was at the Burlington
Fine Arts Club in 1909 (No. 60). In this the Prince has golden hair,
a black cap with a white plume, and a purple gown lined with white fur
over a pale pink doublet. His right hand, raised, holds a rose, and
his gloves are in his left. The background is a greenish blue.
There is a very interesting drawing in coloured crayons by Holbein
in the Basel Gallery,7 which is described as a portrait of Edward VI,
and bears considerable likeness to the various paintings and drawings
in England. The face, however, is decidedly longer and more oval
1 Woltmann, 326 ,- Wornum, ii. 1 ; Holmes, not given.
2 Woltmann, 327; Wornum, ii. 2 ; Holmes, i. 2. Reproduced by Davies, p. 176 ; Knackfuss,
fig. 146 ; Ganz, Hdz. von H. H. dem Jung., 39.
3 Wornum, p. 407.
* Woltmann, 328 ; Wornum, ii. 3; Holmes, ii. 1. Reproduced in Drawings of Hans Holbein
(Newnes), PI. ii.
5 Reproduced in the illustrated catalogue, National Portrait Gallery, vol. i. p. 27.
• Jones Bequest. ' Woltmann, 30. Reproduced by Ganz, Hdz. Schwz. Mstr., ii. 37.
1 68 BASEL REVISITED
in shape than in the Windsor drawings ; but much of the delicate
modelling of the flesh has vanished during the passage of time, so that
it is difficult to speak with absolute certainty as to the likeness. Most
probably the attribution is the correct one. The boy, who appears
to be about five years old, is dressed in a princely costume, and is
holding a meerkat in the bend of his right arm, and stroking its back
with his left hand. There is no portrait known which follows this
drawing.
Upon one of the leaves of Holbein's sketch-book, preserved in the
Basel Gallery, there is a delightful little circular drawing of Edward
when a small child,1 evidently of about the same date as the Hanover
portrait. His costume is much the same as in the pictures described,
and he is seated on a cushion on the grass, fondling a small dog with
his left hand. The background on either side of him is filled in with
branches of oak with acorns. It may have been the first study for
a miniature, or possibly a design for a medallion or hat-badge
to be carried out in gold and enamel by one of Holbein's goldsmith
friends. In spite of its small size the likeness is evident.
The scope of this book does not permit any attempt to give a
detailed list of the numerous portraits of the young prince painted
after the death of Holbein, in which he is represented at an age varying
from about ten to sixteen, some of them being works of very con-
siderable merit. In the days when it was believed that Holbein lived
until 1554, all these portraits were attributed to him, whereas now
some other authorship must be sought. It is known that Guillim
Stretes, the Dutch painter, was responsible for at least two of these
portraits of the young King. According to Strype,2 in 155 1 Stretes
was paid by the Privy Council " fifty marks for recompence of three
great tables, made by the said Guillim, whereof two were the pictures
of his Highness sent to Sir Thomas Hoby and Sir John Mason (am-
bassadors abroad) ; the third a picture of the late Earl of Surrey,
attainted, and by the council's commandant fetched from the said
Guillim's house." In 1553 " Gillam Strettes, Dutchman," was the
King's painter, in receipt of the high salary of £62, 10s. a year, and
he continued in favour during the reign of Queen Mary.
1 Woltmann, no (82). Reproduced by Ganz, Hdz. von H. H. dem Jiing.,Y\. 46, and woodcut
in Woltmann, i. p. 449.
J Memorials, &c, vol. ii. p. 494. Quoted by Walpole, Anecdotes, ed. Wornum, i. p. 138.
£S stajI t.II .JOV
'(13
3JT8A3 aoaawrW
Vol. II., Plate 23
EDWARD, PRINCE OF WALES
Drawing in black and coloured chalks
■a
Windsor Castle
LATER PORTRAITS OF EDWARD VI 169
The excellent little bust portrait of Edward, formerly in the
possession of the Cokayne family at Rushton Hall, Northamptonshire,
which was lent by Lord Aldenham to the Burlington Fine Arts Club
in 1909 (No. 63), has been attributed to this painter. It is dated
1550. Mr. Roger E. Fry,1 on account of the delicate and personal
scheme of blonde and cool colouring which it displays, considers this
portrait to be by the same hand as the portraits of Henry VIII and
Jane Seymour, lent to the same exhibition (Nos. 21 and 46) by
Lord Sackville, which have been mentioned in an earlier chapter.2
Others exist of the same type to which Stretes' name has been pro-
visionally given. The Duke of Portland has a fine small full-length,
undated,3 probably from the same hand as Lord Aldenham's panel ;
another whole-length belongs to Mr. Vernon J. Watney, while a third
is at Southam Delabere, near Cheltenham. A very interesting por-
trait of a different type is at Petworth, an elaborately-painted likeness
of the young King at full length, seated on his throne, with a canopy
over his head, which is dated 1547, when he was in his tenth year.
This is attributed by Mr. Wornum to Stretes.4 There is another in
Christ's Hospital which closely resembles it, and in the same building
there is a second portrait of the Prince at the age of nine. There is
also a fine example in the Royal Collection at Windsor Castle,5 in which
the head is of the same type as that in Lord Aldenham's picture. It is
apparently by the same hand as that of the Princess Elizabeth, also
at Windsor, and whether by Stretes or not, seems to be of Franco-
Flemish origin. The large picture at Bridewell Hospital, representing
Edward VI transferring Bridewell Palace to the City of London, was
regarded in Walpole's day as an excellent example of Holbein's brush,
and both he. and Vertue, who engraved it in 1750, asserted that one
of the figures in the background represented Holbein himself.6 The
occurrence which the picture commemorates, however, took place in
1553, ten years after Holbein's death. This picture, too, has been
tentatively given to Stretes, but it is a work of no great mastery,
1 Burlington Magazine, vol. xv., May 1909, p. 75. Reproduced by Miss Hervey, " Notes on
some Portraits of Tudor Times," Burlington Magazine, vol. xv., June 1909, p. 155.
2 See pp. 104 and 112.
3 Burlington Fine Arts Club, 1909, No. 68.
* Wornum, p. 326.
5 Reproduced by Cust, Royal Collection of Paintings, Windsor Castle, PI. 50 ; and Ganz,
Holbein, p. 223.
6 Walpole, Anecdotes, ed. Wornum, i. p. 88.
170 BASEL REVISITED
though of undoubted historical interest. Descriptions of other por-
traits of Edward VI will be found in a paper contributed by Mr.
J. Gough Nichols, F.S.A., to Archceologia. 1 No less than sixteen,
of varying degrees of merit, were lent to the Tudor Exhibition in 1890.
In the inventory of King Henry VIII's pictures made shortly after
his death, dated September 8, 1547, three of the earlier portraits of
the young Prince of Wales were included. Two of these were full-
lengths : " The Kynge's Majestie, the whole stature, in a gowne like
crymsen satten furred with lusernes," which was protected by a curtain
of white sarcenet ; and " The Kynge's Majesty, the whole stature,
stayned upon clothe " (i.e. canvas), with a curtain of green sarcenet.
The first named was not included in the earlier list of King Henry's
pictures drawn up in 1542, but the latter is in that inventory, and so
must have been painted before 1542, and thus represented Edward as a
little child. The third portrait is merely described as " The Kynge's
Majestie." This may have been the curious " perspective " portrait
of the young Prince, now in the National Portrait Gallery (No. 1300) ,8
a head within a circle surrounded by a well-painted landscape, done
in 1546, which has been attributed to Stretes. According to Walpole,3
who considered it to be the work of Marc Willems, " Gulielmus
pinxit " was written on the frame. It formed part of the Royal
collections from the time it was painted, but was sold by the Common-
wealth in 1650 for £2. Tt was seen in Whitehall and described by the
German traveller, Paul Hentzner, in 1598. Two miniatures of Edward
were lent to the Burlington Fine Arts Club Exhibition (Case C, 13
and 19) by the Duke of Buccleuch, but these are not by Holbein.
1 Vol. xxxix. p. 20.
* Reproduced in the Illustrated Catalogue, National Portrait Gallery, vol. i. p. 27.
3 Walpole, Anecdotes, &c, ed. Wornum, i. p. 135.
CHAPTER XXIII
ANNE OF CLEVES: 1539
Henry VI IPs fresh matrimonial negotiations with Protestant Germany— Christopher Mont sent
to the Court of the Duke of Saxony with reference to a political alliance and the King's
marriage — Anne of Cleves and her sister— Portraits of them by Lucas Cranach — Difficulties
in obtaining portraits of the ladies — Richard Beard and Holbein go over to Duren for that
purpose — The written descriptions of Anne — The legend woven round Holbein's portrait of
her — Henry's disappointment on Anne's arrival in England — Description of the portrait in
the Louvre — Miniature in the Salting Collection — Drawing at Windsor — Portrait in St. John's
College, Oxford.
|ITH the exception of works executed for his royal
master, such as the " Duchess of Milan " and the
lost French portraits, the likeness of the infant Prince
Edward, and that of Anne of Cleves, there is nothing
by Holbein which can be ascribed with absolute
certainty to the years 1538 and 1539.1 It is possible
that the portraits of Thomas Howard, Duke of Norfolk, and his
son, Henry, Earl of Surrey, were produced in the latter year, but
no dated likeness by him is known of any member of the court
circle, or, indeed, of any Englishman or German, painted during
these two years. It is true that more than one of his undated
works may be of this period, but there is no actual proof, beyond that
of style, in favour of such a contention. This may be accounted for
to some extent by his frequent absences from England on the King's
business, which would leave him less time than usual for private
practice, while there is also the possibility that at least some of the
works he produced during these two years have been lost.
By the beginning of 1539, when alarms of war were in the air, and
the alliance between Francis and the Emperor was growing closer
every week, Henry had abandoned all idea of a marriage in France
or with the Duchess of Milan, and was turning his thoughts towards
1 The portrait of Henry VIII in the National Gallery, Rome, now attributed to Holbein, was
painted, according to the King's age inscribed on the background, in 1539 or 1540. See above,
p. 103.
171
1 72 ANNE OF CLEVES
Protestant Germany. The project of this fresh matrimonial venture
was not entirely a new one ; it was under consideration during the
previous summer in the midst of the more active negotiations else-
where. There is a curious passage in one of Eustace Chapuys' letters
to the Emperor, dated London, 17th June 1538, in which he infers that
Henry had grown less anxious for the Milan match because the Germans
were making him offers. " Indeed it is a fact," he says, " that about
that time the King sent to Germany a painter (ung paintre) and one
gentleman of his chamber for the express purpose of pourtraying the
personages ' au naturel ' ; for, although Cromwell at first denied this,
or at least dissembled, he afterwards owned to me (Chapuys) that
the report was true, that both from France and Germany several
marriages had been proposed." These marriages, he adds, according
to report, were to be between the son of the Duke of Cleves and the
Princess Mary, and Henry and one of the Duke's kinswomen.1
This is the only reference in the State Papers to the despatch of
one of the King's painters to Germany in the earlier part of 1538, but
it is interesting as containing a possible reference to Holbein and to
some journey of his of which we have no further knowledge. It is
much more likely, however, that Chapuys was misinformed, and that
no such expedition actually took place, though it may have been
suggested but afterwards abandoned.
About the middle of January 1539, Christopher Mont, or Mount, a
German in Henry's service, was sent abroad with letters of credence
to the Duke of Saxony and the Landgrave. The ostensible purpose
of his mission was to promote the attempted agreement between the
English and German divines which had been the subject of numerous
conferences in the previous year ; but the real object was to find out
to what extent Henry might rely upon the German Protestant princes
in any trouble which might arise between England and the Pope or
Emperor. At the same time, Mont, who was accompanied by Thomas
Paynell, took with him private instructions from Cromwell, which
included a secret message to Francis Burgartus,2 the Duke of Saxony's
vice-chancellor, with respect to a marriage between the young Duke of
Cleves and the Princess Mary, which he and Cromwell had discussed
in London in the previous year. If, the instructions ran, Burgartus
desire " the picture of her face," Mont is to remind him that she is a
1 C.L.P., vol. xiii. pt. i. 1198. Spanish Calendar, v. ii. 225. * Or Burgratus (Burchardt).
SEARCH FOR A BRIDE IN GERMANY 173
King's daughter, and that it was not the custom to send the picture
of persons of such degree abroad. Burgartus, too, had seen her,
and could testify of her proportion, countenance, and beauty. But
there was a matter of still greater importance about which Mont was
to sound the vice-chancellor, whose master, the Duke of Saxony, had
married the eldest daughter of the Duke of Cleves, and was one of the
most interested parties in any alliance proposed between England
and Germany. Mont was to inquire diligently of the beauty and
qualities of the elder of the two unmarried daughters of the Duke of
Cleves, her shape, stature, and complexion, and, if he heard she was such
" as might be likened unto his Majesty," he was to throw out suggestions
as to a marriage between her and the King. The proposal, however,
must come from the side of Cleves, as the overtures made to his Grace
in France and Flanders had not been finally refused. Mont, in short,
was not to speak as if demanding her, " but rather to give them a
prick to offer her ; " but first of all, " it is expedient that they should
send her picture hither." l In this way the Princess Anne of Cleves
first appears on the scene, and the Duchess of Milan, and the ladies
of Guise and other royal French houses finally vanish from it.
Shortly afterwards other diplomatists were sent abroad for the
same purpose. Dr. Barnes went over to Frankfurt to attend the diet
of the Evangelic League, while Dr. Edward Carne and Dr. Nicholas
Wootton, together with Richard Byrd, Bird, or Beard, one of the
gentlemen of the King's Chamber, were despatched to Diiren, to the
court of the young Duke of Cleves, whose father had recently died.
Their instructions were very similar to those given to Mont. They
were to offer an offensive and defensive league and an English bride
to the Duke, but were merely to throw out hints with regard to Anne.
Here again they were to demand a picture of the lady before the
match could be considered, for Henry was always most anxious to
see what his proposed bride was like before committing himself too
far.2 If she were ill-favoured he would have none of her, however
useful for political reasons such an alliance might prove to be. A
portrait was always asked for, but was by no means always considered
sufficient. The King feared that such pictures might flatter the
subject, and so it became his habit, in order to avoid such possibilities,
to send over one of his own painters to procure an independent like-
1 C.L.P., vol. xiv. pt. i. 103. 2 C.L.P., vol. xiv. pt. i. 489, 490.
i74 ANNE OF CLEVES
ness. Holbein, in particular, he knew to be capable of bringing back
a true portrait, more valuable in all ways than the efforts of some
unknown foreign painter, or the written opinions of his ambassadors,
whose taste might not always agree with his own.
Mont, after an interview with the Duke of Saxony, wrote to
Cromwell to say that he seemed favourable to the proposed marriage,
and that he promised to send a portrait as soon as possible, but said
that " his painter Lucas was sick at home." " Everyone," he added,
" praises the lady's beauty, both of face and body. One said she
excelled the Duchess (of Milan) as the golden sun did the silver moon." 1
The Lucas referred to in this letter was Lucas Cranach the elder, and
if it had not been for his illness Holbein might not have been sent
over, for Cranach, no doubt, would have painted a portrait which
would have satisfied the King. Towards the end of April, Cromwell
wrote to Beard and Wootton, again urging them to get a portrait of
the lady, which the former was to bring to London as quickly as
possible.2 In their reply, dated May 3 — the letter, unfortunately,
is badly mutilated — they describe a recent interview with Dr. Henry
Olisleger, the vice-chancellor of Cleves, the young Duke being away at
the Diet. " He said also he would cause the portraits of both the
Duke's younger sisters to be delivered to us in fourteen days. They
were made, he said, half a year before. We said there was no occasion
to declare the King's goodwill to the Duke, which was manifest. . . .
And as for the ij pictures, we wer verye w[ell] contentyd to receyve
theym, and specyallye the imaige of my l[ady Anne] . . . that yf
eny of bothe shulde lyke his Grace . . . yet wolde we gladdelye
receyve and sende bothe. [And for a]s muche as we hadde not seene
the ij ladyes, we shulde [not be] able to advertise his Majestye whether
theyr imaiges were [l]yke to theyr persones, and so shulde his Majestye
be never the nerre by the syht of the pictures." Dr. Olisleger, however,
assured them that the portraits were faithful likenesses, but the am-
bassadors were not satisfied. " We sayde, we hadde not seene theym,
for to see but a parte of theyr faces, and that under such a monstruouse
habyte and apparell, was no syght, neither of theyr faces nor of theyr
persones. Why, quod he, wolde yow see theym nakydde ? ' What
they said in answer to this last remark is lost through the mutilation
of the letter, but they evidently did not approve of the court costume
1 C.L.P., vol. xiv. pt. i. 552. St. P., i. 604. 2 C.L.P., vol. xiv. pt. i. 834. St. P., i. 613.
HOLBEIN AND BEARD GO TO DUREN 175
of Cleves. They concluded by saying : " A Moneday, God willing, we
wylle departe to Duisseldorpe, and, excepte the Duke have enye
bysynesse with us, we wyll thence to Coleyn, where we ar apoyntyd
to receyve the said ij pictures, the which we wille send ynto England
as soone as we canne convenyently." x
In spite of these constant demands for portraits, the ambassadors
do not appear to have received them at the time promised. Early in
July Dr. William Petre, one of the Clerks of Chancery, was sent to
Cleves with further messages and instructions to Dr. Wootton. The
new ambassador and the old were to make a further demand to see
the ladies, and if Beard had not already started with the portraits,
they were to send them " if they may be possible gotten," with their
opinion of them as likenesses.2
Beard was back in London for a short time in July, but whether
he came empty-handed or not there is no record to show. It is
possible that he brought with him the two portraits promised by
Olisleger, which were to be handed to him at Cologne. There is a
portrait of Anne in England, described below, which may be one of
the two in question, but in any case it cannot have satisfied Henry,
for Beard was sent back almost immediately to Diiren, taking Holbein
with him, in order that he might paint the two sisters. They were
allowed £40 for travelling expenses, while Holbein received a further sum
of £13, 6s. 8d. for his own personal outlay in connection with his craft.
The following is the entry in the Treasurer's accounts :
" July, A0 xxxi — Item, to Mr. Richard Bearde, one of the gromes
of the Kingis privi-chambre, and Hans Holbyn, paynter, by like
lettre sent into the parties of High Almayne upon certain his gracis
affaires, for the costes and chardgis of them both, xl. li. And to Hans
Holben, for the preparation of such thingis as he is appoynted to carie
with him, xiij. li. vi.s. viiuZ. — in alle the some of liij li. vi.s. viiid." 3
According to Dr. Woltmann, the extra fee of £13, 6s. 8d. paid to
Holbein for " the preparation of such things as he is appointed to
carry with him," was, " without doubt a portrait of the King, perhaps
a miniature in a costly frame, which he had to paint and to present
to the Princess as a gift from his monarch." 4 This explanation,
1 C.L.P., vol. xiv. pt. i. 920. " C.L.P., vol. xiv. pt. i. 1193.
3 C.L.P., vol. xiv. pt. ii. 781 (f. 85). * Woltmann, i. p. 463.
176 ANNE OF CLEVES
however, is not at all likely to be the correct one. As already pointed
out, Henry never sent portraits of himself to the lady he was preparing
to honour with his hand until he had first of all seen what she herself
was like. He was too cautious a lover to commit himself so far. In
all these transactions he was the one who was to be sought, and the
first offer must come from the lady's side. The simplest explanation
is that the money was for the provision of the necessary painting
materials, and the cost of their carriage. The sum was, no doubt, a
large one if for such a purpose alone, but Holbein was then high in the
King's favour, and well paid for all that he did, while his absence from
England on the royal business put an end for the time to his general
practice, and this might have been considered in fixing the amount of
his allowance.
The travellers reached the castle of Diiren, where the ladies were
living, early in August, and Holbein at once set to work. He had
finished portraits of both Anne and her sister Amelia before the nth
of the month, as we learn from a letter of that date from Dr. Wootton
to Henry VIII. In the course of it he says : " Your Grace's servant
Hanze Albein hathe taken th'effigies of my ladye Anne and the ladye
Amelye and hath expressyd theyr imaiges verye lyvelye." x
It seems probable that in this instance Holbein did more than
make mere studies in crayons such as he had done in the case of the
Duchess of Milan and the French ladies ; and the fact that the portrait
of Anne of Cleves, now in the Louvre, is on parchment fastened down
on a wood panel affords some proof of this. The portrait would be
painted on the parchment directly from the sitter, and afterwards
mounted and the finishing touches given to it. Owing to the haste
required, and the safer conveyance of the portrait, the latter
process was probably not carried out until the artist was back in
London.
No time appears to have been wasted. Henry not only demanded
but obtained speed from his servants on their numerous journeys.
Travelling post, the journey to and from Diiren, which was usually
made via Antwerp, took about eleven days. Holbein was in England
again before the end of August, as we learn from Marillac, the new
French ambassador, who, on September 1, writing from Grafton,
where he had followed the King fifty miles from London, informed
1 C.L.P., vol. xiv. pt. ii. 33.
GOSSIP ABOUT THE KING'S MARRIAGE 177
Francis I that he " has learnt that an excellent painter whom this
King sent to Germany to bring the portrait of the sister of the Duke
of Cleves, recently arrived in Court, and, immediately afterwards, a
courier, bringing, among other news which is still kept secret, news
that the said Duke's ambassadors have started to come hither to treat
and conclude the marriage of this King and the said lady." 1
The proposed marriage afforded opportunity for much speculation
on the part of the King's subjects, as more than one of his earlier
matrimonial projects had done. An excellent idea of the kind of
gossip which prevailed can be gathered from the evidence taken in
the case of a certain George Constantyne, who talked so much that he
got himself charged with treason. It occurs in the report of a con-
versation between Constantyne and the Dean of Westbury during a
journey they made together to South Wales, and in the course of it
Holbein's visit to Cleves is mentioned. " The Dean asked also if
Constantyne had any news of the King's marriage. Replied, he could
not tell ; he was sorry to see the King so long without a queen, when he
might yet have many fair children : his own father was ninety-two
years old, and yet, last summer, rode thirty-two miles one day before
two o'clock, and said he was not weary ; the duchess of Milan and that
of Cleif were both spoken of, as the Dean knew. Asked, ' How call
ye the little doctor that is gone to Cleif ? ' The Dean said, it was Dr.
Woten, and that he that was with him of the Privy Chamber, whom
Woten sent home lately, was Berde ; adding that this Berde was sent
thither again with the King's painter, and that there was good hope
of the marriage, for the duke of Cleif favoured God's word and was a
mighty prince now, having possession of Gelderland against the
Emperor's will. . . . Said also that the matter of the duchess of Milan
was really broken off, for she would have the King accept the bishop
of Rome's dispensation and give pledges. ' Why pledges ? ' asked the
Dean. ' Marry,' said Constantyne, ' she sayeth that the King's
Majesty was in so little space rid of the Queens, that she dare not trust
his Council, though she durst trust his Majesty ; for her Council
suspecteth that her great aunt was poisoned, that the second was
innocently put to death, and the third lost for lack of keeping her in
childbed.' Added, that he was not sure whether this was her answer
or that of Cleif, but that he heard a muttering of it before Whit-
1 C.L.P., vol. xiv. pt. ii. 117. Kaulek, 124.
VOL. II. M
178 ANNE OF CLEVES
suntide." 1 It will be seen from this gossip that the legend respecting
the Duchess of Milan's refusal to accept Henry because she had fear
for the safety of her head was commonly believed at the time.
The written descriptions of Anne which Henry received from his
representatives and agents were all favourable, but not enthusiastic.
Wootton in the letter referring to Holbein, already quoted, says of
her : " She has been brought up with the lady Duchess her mother
(as the lady Sybille also was till she was married and the lady Amelye
has been and is) and in manner never from her elbow, the lady Duchess
being a wise lady and one that very straitly looketh to her children.
All report her to be of very lowly and gentle conditions, by the which
she hath so much won her mother's favour that she is very loth to
suffer her to depart from her. ' She occupieth her time most with
the needle, wherewithall she .... She canne reede and wryte her
. . . Frenche, Latyn, or other langaige she [hathe no] ne, nor yet she
canne not synge nor playe [upon] enye instrument, for they take it
heere in Germanye for a rebuke and an occasion of lightenesse that
great ladyes shold be lernyd or have enye knowledge of musike.'
Her wit is good and she will no doubt learn English soon when she puts
her mind to it. 'I could never hear that she is inclined to the good
cheer of this country and marvel it were if she should, seeing that her
brother, to whom yet it were somewhat more tolerable, doth so well
abstain from it.' " 2
Sir Michael Mercator, the German factor of musical instruments,
knighted by Henry, wrote to Cromwell later in the year, giving praise
to God " for this alliance with the most illustrious, beautiful, and noble
lady Anna de Clefves, who has a great gift from God, both of sense
and wit. It would be difficult to describe her good manners and grace,
and how Gueldres, Cleves, and all the country of the Duke, rejoice
at the alliance." 3
Around Holbein's portrait of Anne there has been woven a legend
which upon examination is found to have no foundation in fact. The
story is to be traced back to Bishop Burnet, who, in his History of the
Reformation, says : 4 " Hans Holbin having taken her picture, sent it
over to the king. But in that he bestowed the common compliment
of his art somewhat too liberally on a lady that was in a fair way to
1 C.L.P., vol. xiv. pt. ii. 400. Arck&ologia, xxiii. 56. 2 C.L.P., vol. xiv. pt. ii. 33.
* C.L.P., vol. xiv. pt. ii. 500. 4 Vol. i. pt. i. p. 543.
THE "FLANDERS MARE" LEGEND 179
be queen the king liked the picture better than the original, when he
had the occasion afterwards to compare them." Instead of the
promised beauty, continues the bishop, they brought him over a
" Flanders mare."
Walpole, following Burnet, elaborates this : " Holbein was next
despatched by Cromwell to draw the lady Anne of Cleve, and by
practising the common flattery of his profession, was the immediate
cause of the destruction of that great subject, and of the disgrace
that fell on the princess herself. He drew so favourable a likeness,
that Henry was content to wed her ; but when he found her so inferior
to the miniature, the storm which really should have been directed
at the painter, burst on the minister ; and Cromwell lost his head,
because Anne was a Flanders mare, not a Venus, as Holbein had repre-
sented her." x
There is no truth at all in this story. The leading characteristic of
Holbein's portraiture is its complete truth ; he was not in the habit of
flattering his sitters, and the portrait of Anne affords one of the most
striking testimonies of this. He certainly did not paint her as a
Venus, nor was Cromwell's fall owing to the picture. He was, indeed,
made Earl of Essex after the lady's marriage to the King. Letters
in the State Papers show very clearly that Henry complained only of
the spoken and written words of his ambassadors, and made no
mention of portraits. Russell, the Lord High Admiral, in his de-
position in connection with the divorce, quoted Henry as saying to
him : " How like you this woman ? do you think her so fair and of
such beauty as report hath been made unto me of her ? I pray you
tell me the truth." Whereupon the said Lord Admiral answered,
that he took her not for fair, but to be of a brown complexion. And
the king's highness said, " Alas ! whom should men trust ? I promise
you," said he, " I see no such thing in her as hath been showed me of
her, and am ashamed that men hath praised her as they have done,
and I like her not." Stow, in quoting this, adds without authority
the words : " either by pictures or report," after " I see no such thing
in her as hath been showed me of her."
Stow, apparently drawing upon his own imagination, makes
exaggerated references to the part portraits played in the negotiations
for the marriage. " Some went over by the king, some by the Lord
1 Walpole, Anecdotes, ed. Wornum, i. p. 72.
180 ANNE OF CLEVES
Cromwell, and some went voluntary, to view the Lady Anne of Cleave,
and to negotiate her marriage with the king. All which, either by
letters, speech, or both, made very large and liberal reports in praise
of her singular feature, matchless beauty, and princely perfections,
and for proof thereof presented the king with sundry of her pictures,
which the bringers ever affirmed to have been truly made, without
flattery." x
Henry, however, in his own declaration, never refers to a portrait.
He entered into the marriage, he said, " because I heard so much both
of her excellent beauty and virtuous conditions." In addition, he
told Sir Anthony Browne, " I see nothing in this woman as men report
of her, and I mervail that wise men would make such report as they
have done." He also told Cromwell, in reply to his question as to
how he liked the lady, " Nothing so well as she was spoken of ; if I
had known as much before as I know now, she should never have come
into the realm. But what remedy ? "
After all, however, the praises of her sent home by Henry's am-
bassadors were not very hearty ones. In Hutton's letter from
Brussels, already quoted,2 written shortly after Jane Seymour's death,
in answer to a request that he would search for a possible bride for
the King at the Court of the Regent, he reported, among other prin-
cesses, that " the Dewke of Clevis hathe a daughter, but I here no
great preas neyther of hir personage nor beawtie." Wootton's account,
given above, is a remarkably cautious one, and lays most stress on
Anne's domestic virtues. He had also complained that he had found it
impossible to judge of the personal appearance of the two ladies on
account of the ugly head-dresses they wore.
Had the fault been Holbein's, he would, no doubt, have fallen
under the King's displeasure. At the least his appointment would
have been taken from him, even if he had not been forced to leave
England ; but the contrary was the case. In September, after his
return from Cleves, he received, for a second time, a whole year's
salary in advance. This was, of course, before the King had seen
the original of the portrait ; but, strangely enough, if the accounts
are to be believed, in addition to this year's advance, Holbein con-
tinued to receive his salary every quarter day for the next year, so
that he was paid twice over.3 It is thus very evident that the painter
1 Stow, Annates, ed. Howes, p. 576. 2 See p. 116. 3 See p. 190.
PORTRAIT OF ANNE OF CLEVES 181
suffered no disgrace or lack of employment or patronage, so that the
legend must be abandoned.
The fine portrait of Anne of Cleves now in the Louvre (PL 24) is in
all probability the picture which Holbein painted in Diiren.1 It is
almost three-quarter length, less than life-size. She is shown standing,
facing the spectator, her hands folded in front of her, and dressed in a
very elaborate costume. Her sumptuous gown of red velvet with
wide hanging sleeves has heavy bands of gold embroidered with pearls.
The bodice is cut square, and is edged with a band of ornament de-
corated with jewels, and a similar one round the neck with a pendant
jewelled cross. She also wears two gold chains, and several rings on
her fingers. The open front of the dress is filled in with fine white
linen with bands of embroidery. Her hair is covered with an almost
transparent head-dress worked with an elaborate pattern and the
motto " A bon fine," over which is a cap wrought all over with gold,
pearls, and other jewels. Her lace cuffs are also gold-embroidered.
The background is blue-green, without inscription. Her brown eyes
look straight at the spectator. More than one writer, influenced no
doubt by these stories of her lack of beauty, has described this portrait
as the likeness of a heavy, expressionless, ill-favoured woman ; but
this is far from being the case. Without any pretensions to extra-
ordinary good looks, the face is a pleasant one, and by no means as
plain as it has been described ; indeed, in many ways it compares
favourably with that of Queen Jane Seymour. That it is a truthful
representation is certain, for Holbein never failed in this respect.
Nothing is known of the history of the picture, or how it came to find
a home in France, except that it was at one time in the Earl of Arundel's
possession,2 and afterwards in the collection of Louis XIV.
Walpole speaks of the portrait done by Holbein in Diiren as a
miniature. He was inclined to believe that the beautiful miniature
of Anne, now in the Salting Collection at South Kensington, which in
his days belonged to the Barretts of Lee Priory, was the very miniature
painted by Holbein on this occasion. " This very picture," he says,
' as is supposed, was in the possession of Mr. Barrett, of Kent. . . .
The print among the illustrious heads is taken from it : and so far
1 Woltmann, 228. Reproduced by Davies, p. 174; Knackfuss, fig. 131; A. F. Pollard,
Henry VIII, p. 260 ; Ganz, Holbein, p. 1 24.
2 Entered in the 1655 inventory as"ritratto d'Anne de Cleves."
1 82 ANNE OF CLEVES
justifies the king, that he certainly was not nice, if from that picture
he concluded her handsome enough. It has so little beauty, that I
should doubt of its being the very portrait in question — it rather seems
to have been drawn after Holbein saw a little with the king's eyes.
I have seen that picture in the cabinet of the present Mr. Barrett, of
Lee, and think it the most exquisitely perfect of all Holbein's works as
well as in the highest preservation. The print gives a very inadequate
idea of it, and none of her Flemish fairness. It is preserved in the
ivory box in which it came over, and which represents a rose, so
delicately carved as to be worthy of the jewel it contains." 1
It is not known in what way this miniature,2 together with the
companion portrait of Henry VIII,3 in a similar ivory box, in the
late Mr. Pierpont Morgan's collection, came into the possession of the
Barrett family. They were offered for sale by auction in 1757, but
bought in ; and subsequently sold by Mr. T. B. Barrett in 1826 to a
dealer named Tuck, who resold them for fifty guineas to Francis
Douce, by whom they were bequeathed, in 1834, to Sir Samuel Rush
Meyrick, of Goodrich Court. At a later date the miniature of Anne
of Cleves was bequeathed by General Meyrick to Miss Davies, from
whom it was acquired by the late Mr. George Salting. This miniature
follows very closely the portrait in the Louvre, though there are slight
differences in the details and colour of the dress. The background is
blue, without inscription. It is in water-colours, and is if in. in
diameter. It was from this miniature, which is regarded as an
undoubted work by Holbein, that Houbraken engraved, in 1739, the
portrait of Anne for his " Illustrious Heads."
When the Louvre picture was in the Arundel Collection it was
etched by Hollar, but reversed. This print is 9^ in. by 7 in., and is
dated 1648 and inscribed — " Anna Clivensis, Henrici VIII Regis
Anglise Uxor IHIta. H Holbein pinxit. Wenceslaus Hollar fecit
aqua forti, ex Collectione Arundeliana, A. 1648." 4
1 Walpole, Anecdotes, ed. Wornum, i. p. 72, note.
2 Woltmann, 158. Reproduced by Ganz, Holbein, p. 148 (2); and in Burlington Fine Arts
Club Exhibition Catalogue, PI. xxxii.
3 Woltmann, 157. See p. 235.
4 Parthey, 1343- There is a second print by Hollar, of the same year, taken from a picture or
drawing in the Arundel Collection, of a lady in profile to the right, wearing a flat black cap, which,
it has been suggested, also represents Anne of Cleves (Parthey, 154s). The likeness is not very
apparent, nor does the original appear to have been by Holbein, as Hollar states. It is
reproduced by Dr. Ganz, Holbein, p. 198 (2).
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ANNE OF CLEVES
1539
Louvre, Paris
OTHER PORTRAITS OF ANNE OF CLEVES 183
There are several other portraits in existence which are said, with
little authority, to represent Anne of Cleves ; among them a drawing
in the Windsor Collection,1 which appears at one time to have become
separated from the others. It came into the possession of Dr. Meade,
and at his sale in 1755 was bought by Mr. Chetwynd. After the
latter's death it was restored by his executors to the royal collection.
It bears little or no resemblance to the Louvre portrait, and is almost
certainly a likeness of some English lady. She is shown full face, with
a close-fitting cap covering the ears, and a hat over it. The drawing
has been damaged by having been cut out round the outline. The
face is a refined one. There are notes in German as to the material
and colours of the dress, and the pattern of the Spanish work on the
collar is drawn in detail on the margin. It has no inscription. In
the National Portrait Exhibition at South Kensington in 1865, a small
head of " Anne of Cleves " was exhibited by the Earl of Derby. It was
in oil on panel, oval, about 3 in. by 2 J in., and signed " H. H." It
had been injured, and was then in a somewhat dirty condition ; the
face had considerable likeness to the Louvre picture.2
There is, however, one other portrait in addition to the Louvre
panel which is a contemporary likeness of Anne of Cleves, though not
by Holbein. This is the small picture in St. John's College, Oxford,
a fine work by some unknown painter of the Flemish School. It is a
half-length, standing three-quarters to the left, behind a parapet upon
which lie an orange and a pair of jewelled gloves. The head-dress is of
cloth of gold and white gauze, the latter worked with the motto, "A
bon fine," as in the Louvre picture. She is wearing a low-cut dress of
striped gold and black, filled in with white with embroidered bands,
gold and jewelled necklaces, and a pendant cross, and several rings on
her fingers. Her left hand is placed against her waistbelt, and in her
right she holds three carnations. The background is dark, with a
small canopy or curtain over her head. It is on panel with arched
top, 19! in. by 14^ in. The costume is of the same style and period
as the Louvre portrait, though it differs in numerous small details,
more particularly in the colours of the materials, the shape of the
sleeves, and the jewelled bands of the head-dress. The general tone
of colour is golden, and there is excellent painting in all the details of
1 Woltmann, 357 ; Wornum, not included ; Holmes, ii. 2.
2 Wornum, p. 330, note.
184 ANNE OF CLEVES
the elaborate costume. It was included in the Oxford Exhibition of
Historical Portraits in 1904 (No. 30), and was one of the most interest-
ing pictures in the collection.1 As a likeness it bears a strong re-
semblance to Holbein's portrait, and if not of Anne may well be of her
sister. The suggestion may be hazarded that it is one of the two
portraits, painted six months before Holbein and Beard were in Duren,
which Olisleger had promised to procure for Henry VII Fs ambassadors,
portraits which Beard, apparently, took with him to London early in
July 1539.
There is no need even to touch upon the concluding stages of this
miserable story, with which Holbein had nothing to do. Henry married
Anne at Greenwich on January 6, 1540, and finally divorced her on
July 12 in the same year. She settled at Richmond in the enjoy-
ment of the rank of a princess and a pension of £3000 a year, and
survived the King by ten years, dying in 1557.
1 Reproduced in the Oxford Catalogue, p. 24; Burlington Magazine, vol. v., May 1904, p. 214.
A very similar picture was lent by Dr. Wickham Flower to the New Gallery Winter Exhibition,
1899-1900, No. 44, as a work of the Early Flemish School. It was described in the catalogue
as: "Half-length, turned towards left, habited in a rich Flemish costume of gold tissue
covered with jewellery ; head-dress ornamented with pearls, and inscribed with the motto ' A
bon fine ' ; in her right hand she holds a red carnation ; flat green background. Painted on
vellum and strained on fine canvas, 15 in. x 14 in. This portrait is supposed to have been
executed by a Flemish painter a year or two previous to Anne's marriage in 1540."
gysHjiS
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CHAPTER XXIV
THE LAST YEARS: 1540-1543
Holbein's work at Whitehall— His residence in the parish of St. Andrew Undershaft— In high
favour at court— Payments of his salary — Possible visit to Basel — Portraits and miniatures
of Catherine Howard — Portraits of the Duke of Norfolk — The Earl of Surrey — Unknown
men at Berlin and Vienna — Unknown Englishman at the Hague — Earl of Southampton —
Unknown man, aged 54, at Berlin — Unknown English lady at Vienna — Simon George — Dr.
John Chamber — Sir William and Lady Butts — Unknown Englishman at Basel — Young
English lady in the collection of Count Lanckoronski — Lady Rich — Holbein's self-portraits —
A newly discovered one at Basel — Portraits, now lost, etched by Hollar — The Duke of
Buckingham's Collection.
HOUGH there is no actual evidence in support of the
statement of the older writers that Holbein, after he
entered the royal service, had the use of a permanent
studio in Whitehall Palace, granted to him by the
King, there is every possibility that such was the
case. " One of the earliest of the famous non-royal
residents in Whitehall Palace," says Dr. Edgar Sheppard, " was the
artist Holbein. He had been presented to Henry VIII by Sir
Thomas More, and the King assigned him a permanent suite of
apartments in Whitehall, and commissioned him to paint the
interior of the new Palace, for which work he received two hundred
florins per annum." 1 While the great wall-painting in the Privy
Chamber was in progress, it would be necessary for him to have
a room for his own use within the building, for the storage of
the materials required for the work, and it is not impossible that
he was permitted to retain the room as his own, perhaps one of
those over the so-called " Holbein's Gate," for the short remainder
of his life, more particularly as his practice was almost entirely con-
fined to the court, so that a studio in Whitehall would best suit the
convenience both of the painter and his sitters.2 That he had a " per-
manent suite of apartments " there, as Dr. Sheppard states, is much
less probable. This would indicate residence, whereas it is known
1 The Old Royal Palace of Whitehall, 1901, p. 266. 2 See Appendix (M).
185
1 86 THE LAST YEARS
that during his last years he occupied a house in the east of
London.
It is doubtful, too, whether Holbein carried out any important
decorative work in the Palace beyond the famous wall-painting already
described.1 According to a curious entry in Pepys' Diary, under
the date August 28, 1668, which is not easy to understand, the room
known as the Matted Gallery had a painted ceiling of Holbein's handi-
work. The passage runs as follows : " With much difficulty, by
candle-light, walked over the matted gallery, as it is now with the
mats and boards all taken up, so that we walked over the rafters.
But strange to see how hard matter the plaister of Paris is, that is
there taken up, as hard as stone ! And pity to see Holben's work in
the ceiling blotted on, and only whited over ! " The exact sense of
the concluding words is not very clear, but Pepys appears to mean
that the ceiling had been formerly painted by Holbein, and that,
having become damaged in course of time, it had recently been given
a coat of whitewash. The ceiling was probably decorated with
coloured plaster-work in relief, and though Holbein may have supplied
the design, and may even have been responsible for the painting, it
is much more likely that the plaster-work itself was done by some
Italian, such as Nicolas Bellin of Modena, who had carried out similar
undertakings at Fontainebleau.
The legend that Holbein also painted a " Dance of Death," com-
posed of life-size figures, upon the walls of one of the rooms in White-
hall, is probably pure fiction, or, at least, there is much less to be said
in its favour than for Pepys' attribution of the ceiling in the Matted
Gallery to the painter. The writer who first gave currency to the
story was Francis Douce, in his " Dance of Death," published in 1833.
According to his statement, " very soon after the calamitous fire at
Whitehall in 1697,2 which consumed nearly the whole of that palace,
a person, calling himself T. Nieuhoff Piccard, probably belonging to
1 In 1576 Johann Fischart, quoted by Ganz, Holbein, p. xxxviii., in a description of the Palace,
speaks of several of the galleries as decorated on both sides with fine emblematic histories, and
actions and stories in the style of Michelangelo and Holbein. Henry Peacham, in his Graphic^
(1606), and again in The Compleat Gentleman (1634), speaks of works by Holbein in Whitehall.
He says : " He painted the Chappell at White-Hall, and S. James, Joseph of Arimathea, Lazarus
rising from the dead, &c, were his." (See 7 he Compleat Genlleman,ed. G. S. Gordon, 1906, p. 128.
Also Walpole, Anecdotes, ed. Wornum, i. p. 82.) There is a drawing in the British Museum
representing Henry VIII seated at table under a lofty canopy, in a large chamber, with a number
of standing courtiers in attendance, which appears to be a sixteenth-century copy of a preliminary
study by Holbein for a wall decoration, possibly for one of the rooms in Whitehall. It is inscribed
" Holbein InvenV Reproduced by Ganz, Holbein, p. 183. 2 Should be 1698.
"DANCE OF DEATH" AT WHITEHALL 187
the household of William III, and a man who appears to have been
an amateur artist," 1 made etchings after nineteen of the cuts in the
Lyon " Dance of Death." Impressions of these etchings, accompanied
with manuscript dedications, are said to have been presented by this
Piccard to his friends and patrons, and among others to a Mynheer
Heymans, and to the " high, noble, and well-born Lord William
Benting, Lord of Rhoon, Pendreght," &c. In these addresses Piccard
speaks of a " wall-painting " of the " Dance " by Holbein which
he himself had seen in Whitehall. In the dedication to Heymans
he says :
" Sir, — The costly palace of Whitehall, erected by Cardinal Wolsey,
and the residence of King Henry VIII, contains, among other per-
formances of art, a Dance of Death, painted by Holbein in its galleries,
which, through an unfortunate conflagration, has been reduced to
ashes."
In the dedication to " Lord William Benting " Piccard is more
precise :
" Sir, — In the course of my constant love and pursuit of works
of art, it has been my good fortune to meet with that scarce little
work of Hans Holbein neatly engraved on wood, and which he him-
self had painted as large as life in fresco on the walls of Whitehall."
As far as can be ascertained, there is not the slightest truth in this
legend. Nothing is known as to the identity of Heymans, but Lord
William Benting was evidently William Bentinck (1704-1774), of
Rhoon and Pendrecht in Holland, and Terrington St. Clements,
Norfolk, third son of Hans William Bentinck, first Earl of Portland,
and a Count of the Holy Roman Empire. Douce, who gave
undeserved authority to this story, made no attempt to trace the
history of the manuscript " addresses " which accompanied the
etchings, and though he saw them, does not say to whom they then
belonged, or even in what language they were written. They may be
safely set down as forgeries, as far as any wall paintings of the " Dance
of Death " by Holbein are concerned. Piccard, whoever he may
have been, is the sole authority for the existence of these mythical
works, which are not mentioned by Van Mander or Sandrart, or by
any of the foreign travellers who visited this country in their
descriptions of Whitehall, though the wall-painting of Henry VIII
1 Holbeiris Dance of Death, ed. 1858, p. 124.
1 88 THE LAST YEARS
with his wife and parents in the same palace is more than once
spoken of in such records in terms of high praise. Both Pepys and
Evelyn are equally silent on the subject, though the latter mentions
the " Dance of Death " woodcuts, and ascribes them to Holbein by
name. " We have seen," he says, " some few things cut in wood
by the incomparable Hans Holbein the Dane, but they are rare and
exceedingly difficult to come by ; as his Licentiousnesse of the Friers
and Nuns ; Erasmus ; Moriae Encomium ; the Trial and Crucifixion of
Christ ; The Daunce Macchabree ; the Mortis Imago, which he painted
in great in the Church at Basil, and afterwards graved with no lesse
art."1 What he says is by no means free from mistakes, but as, in
speaking of a visit paid to Whitehall in 1656, he describes the condition
of the large wall-painting of the two kings Henry VII and Henry VIII,
and their consorts, it is not probable that he would have failed to
mention any other important wall-paintings in the palace had they
existed. Douce thought he had discovered a corroboration of Piccard's
sto^ in an entry in Van der Doort's catalogue of Charles I's collection,
which runs : "A little piece, where Death with a green garland about
his head, stretching both his arms to apprehend a Pilate in the habit
of one of the spiritual Prince-Electors of Germany. Copied by Isaac
Oliver from Holbein " ; but this, no doubt, was painted from the
woodcut of the Elector in the Lyon " Dance of Death," and not from
a large wall-painting.
As already stated, though Holbein may have had a workroom
within the precincts of Whitehall, his permanent home in London was
elsewhere. The public records show that in 1541 he was living in the
parish of St. Andrew Undershaft, in Aldgate Ward. How long he
had been there is not known, but possibly for the greater part of his
second sojourn in England. This information is contained in a subsidy
roll for the City of London, dated 24th October, 33 Hen. VIII (1541).
Among the " straungers " taxed were :
" Barnadyne Buttessey, xxx. //. ..... xxx. s.
Hanns Holbene in fee, xxx. //...... iij. //."
Why Holbein was obliged to pay twice the amount charged to Buttessey
on an equal assessment of £30 a year is explained by the fact that in
these subsidies it was usual to tax " lands, fees, and annuities," at
1 Evelyn, Sculpt ura, ed. 1769, p. 69.
HOLBEIN'S RESIDENCE IN LONDON 189
double the rate of goods. " In the royal accounts," says Sir
Augustus W. Franks, " the payments to Holbein are sometimes
noticed as wages, sometimes as an annuity ; while other payments
of a similar kind, although fees or annuities, are included under the
general term " wages," and evidently looked upon as synonymous
terms for the salaries paid by the King to various members of his
household. In any case, the salary of Holbein, the painter, rendered
him liable to be rated, as a foreigner, at the high amount above men-
tioned." 1 There can be no doubt that this Holbein of the subsidy
roll was the artist. The amount of his fee, £30, corresponds with the
salary he received from the royal purse, while Holbein's will gives his
place of residence as the parish of St. Andrew Undershaft.
According to a story told by Walpole, Holbein once resided in a
house on London Bridge. He says : " The father of Lord Treasurer
Oxford passing over London Bridge, was caught in a shower, and
stepping into a goldsmith's shop for shelter, he found there a picture
of Holbein (who had lived in that house) and his family. He offered
the goldsmith 100/. for it, who consented to let him have it, but desired
first to show it to some persons. Immediately after happened the
fire of London, and the picture was destroyed." 2 This story is ap-
parently a mere legend, and there is no evidence to support it ; nor
is it very probable that an important painting by Holbein would have
remained in the same small house for more than one hundred and
twenty years. Dallaway, in his notes to Walpole, includes in a
supplementary list of works by Holbein in England a small picture
of Holbein, his wife, four boys, and a girl, at Mereworth Castle, Kent,
which he suggests may be either a repetition or the original picture
of the London Bridge story ; but in the first place, Holbein never
had a family of four sons, and, secondly, the picture bears no traces
of Holbein's manner. He quotes Gilpin's description of it : "As a
whole, it has no effect ; but the heads are excellent. They are not
painted in the common flat style of Holbein, but with a round, firm,
glowing pencil, and yet exact imitation of nature is preserved — the
boys are very innocent, beautiful characters." If some such " family "
picture existed in London at that time, it is much more likely to have
been a copy or a replica of the genuine family group in the Basel
Gallery.
1 Archceologia, vol. xxxix. p. 17. 2 Walpole, Atiecdotes, ed. Wornum, i. p. 86, note.
190 THE LAST YEARS
The favour with which Holbein was now regarded at court is shown
by the frequency with which he received a year's or half a year's
salary in advance, a mark of royal condescension which was most
unusual. Thus under " September A° xxxi " (1539) is the following
entry : " Item paide by the Kingis highnesse commaundement
certefied by my lorde privyseales lettres to Hans Holbenne, paynter,
in the advauncement of his hole yeres wagis beforehande, aftre the
rate of xxx li. by yere, which yeres advauncement is to be accompted
from this present Michaelmas, and shall ende ultimo Septembris next
commynge, the somme of xxx li."1 Notwithstanding this payment
in advance, it appears, as already pointed out,2 from the four following
quarterly entries in the accounts having reference to Holbein, from
Michaelmas 1539 to Midsummer 1540, that he continued to receive his
salary of £7, 10s. each quarter as usual.3 If these entries are to be
depended upon, he clearly received his money twice over, either by
accident, owing to carelessness in the keeping of the King's accounts,
or of set purpose as a further reward for his services.
In September 1540 he received an advance of half a year :
" September, A0 xxxii — Item paide to Hans Holbyn, the Kingis
paynter, in advauncement of his wagis for one half yere beforehande,
the same half yere accompted and reconned fromme Michaelmas last
paste, the somme- of xv li." This time, however, he did not receive
his salary twice over, for in the two following entries, at Michaelmas
and Christmas, 1540, the accounts merely state : " Item, for Hans
Holbyn, paynter, wages, nihil, quia prius per warrantum." In the
following March 1541 he again obtained a half-year's advance :
" March, A° xxxii : Item paied to Hans Holben, the Kingis painter, in
advauncement of his half yeres wages before hande, after the rate of
xxx li. by yere, which half yere is accompted to beginne primo Aprilis
A0 xxxij. domini Regis nunc, and shall ende ultimo Septembris then
next ensuynge, the somme of xv li." The two remaining entries
of which we have record, at Lady Day and Midsummer following,
are as follows : " Item for Hans Holben, paynter, wages, nil, quia
praemanibus " ; and " Item for Hans Holbyn, paynter, nihil, quia
prius." The volume of accounts closes with the payments for this
quarter, and no details of the royal expenditure during the next two
1 C.L.P., vol. xiv. pt. ii. p. 313, The King's Payments, f. 90 b ; and Archceologia, vol.
xxxix. p. 9. 2 See p. 180.
3 The first of these was due to him, and not covered by the year's advance.
HIS WORK ABOUT THE COURT 191
years and a half exist, so that there is no record of the salary Holbein
received for the remaining years of his life. In a later volume of
Tuke's accounts, as treasurer of the household, extending from
October, 35 Hen. VIII (1543) to November, 36 Hen. VIII (1544), the
first quarterly payments are for Christmas 1543, and Holbein's name
does not occur in them, as he had then been dead for about two
months. It is rather strange, however, that it does not appear among
the Christmas payments with " Nihil quia mortuus " after it, as this
was the usual procedure in case of death. This omission, however,
may have been due to the fact that he had once again received his
salary beforehand.
The remaining years of Holbein's life must have been busy ones,
judging from the number of preliminary studies for portraits of the
men and women of Henry's court which exist in the Windsor Collec-
tion and in many of the great European museums. These drawings
are all undated, and cover the whole period of his English career, but
there are so many of them that his time must have been always fully
occupied. It is strange, therefore, that so few of his finished portraits
can be ascribed with any certainty to the year 1540. Although it was
by no means his invariable custom to put the date on his paintings,
yet this was his more usual practice, and there is no known picture
by him which is inscribed 1540, though there are a few dated 1541
and 1542. Several portraits of the Howard family can be given with
some certainty to the earlier year, but beyond this nothing has been
so far discovered. It may be suggested, as some explanation of this,
that Holbein paid another visit to Basel during the last quarter of
1540, as the two years' leave of absence granted him by the Town
Council came to an end in the middle of October. The Council, who
had been paying his wife the promised yearly pension of forty gulden,
expected him to make Basel his permanent residence on the com-
pletion of this further extension of leave. The terms of their agree-
ment with him were fairly generous, and it is not to be supposed that
the painter would risk losing his rights of citizenship and the stoppage
of the pension to his wife through a total disregard of the Council's
wish. It seems possible, therefore, that he went over to Switzerland
in order to make personal application for a further and longer leave of
absence in England than the agreement of 1538 permitted. Unlike
many of the foreign artists and artificers then resident in this country,
1 92 THE LAST YEARS
he never became a naturalised British subject, and this, no doubt,
was due to the fact that he was determined to end his days as a citizen
of Basel, and regarded his residence here as merely a temporary one,
and England as a profitable field which, as time passed, would become
worked out. He could not, of course, foresee that he was to be
suddenly cut down when a comparatively young man and still in the
full maturity of his powers. At Michaelmas in the year in question
he received half a year's salary in advance, so that it was impossible
for him to leave England permanently for some time to come.
In the summer of 1540 Holbein lost another of his English patrons.
Henry formally divorced Anne of Cleves on the 12th of July, and on
the 28th of the same month Thomas Cromwell, then Earl of Essex,
who had been a good friend to the painter, was beheaded for high
treason, after a period of eight years during which his influence with
both King and Parliament had been paramount. During the same
month Henry privately married Catherine, daughter of Lord Edmund
Howard, a cousin of Anne Boleyn, and niece of Thomas, third Duke of
Norfolk. By this marriage the Howards, and through them the
Catholic party, regained that ascendancy in the councils of the King
which had received a severe check at the fall of Anne Boleyn ; and at
least three members of this family were painted by Holbein. The new
Queen was publicly acknowledged on August 8 at Hampton Court
Palace.
Although it was to be supposed that Henry would employ Holbein
to paint the portrait of his new queen, until quite recently the only
known likeness of her from his brush was the miniature portrait in the
royal collection at Windsor Castle, and the replica of it belonging to
the Duke of Buccleuch. In 1909, however, the discovery was made
by Mr. Lionel Cust of a genuine and very beautiful portrait of this
Queen. In the Windsor miniature (PI. 31 (4)),1 which shows her in
a similar position to the one in the newly discovered picture, she is
represented nearly to the waist, turned to the left, her hands folded in
front of her, the left over the right. Her hair and eyes are brown, and
she wears a circular hood of the then fashionable French pattern, with a
fall of black velvet. Her square-cut bodice is of dark cloth of gold,
1 Woltmann, 271. Reproduced by Law, PL vii. ; Knackfuss, fig. 132 ; Williamson, History of
Portrait Miniatures, PI. ii. No. 2 ; Pollard, Henry VIII, p. 245 ; Ganz, Holbein, p. 149 (4),[and
Cust, Burlington Magazine, July 1910, p. 195.
'IL
MINIATURES OF CATHERINE HOWARD 193
with sleeves of grey-green silk embroidered with gold, and white ruffles
with black embroidery. Round her neck, over the white cambric
filling of the dress, falls an elaborate necklace of pearls, rubies, and
sapphires. The background, which is bright blue, has no inscription.
It is painted on the back of a playing card, the eight of diamonds, and
is 2J inches in diameter. The hands, and the lower part of the arms,
are badly painted, and appear to be a later addition.
Nothing is known of its history, or as to the date of its acquisition,
but it did not belong to the Crown in Tudor or Stuart days. Dr. Ganz
describes it as badly over-painted, and possibly only a copy. Doubts
have been thrown from time to time on its right to be called a portrait
of Catherine Howard. Mr. Ernest Law considers the attribution to
be " very problematical indeed," and states that it " does not at all
accord with the Holbein drawing inscribed as ' Queen Katherine
Howard.' " * In this he follows earlier writers. Nichols says that
though the position and head-dress of the drawing agree with the
miniature, " the features do not appear to correspond." 2 It is
difficult, however, to agree with them in this, for a careful comparison
of the two makes it quite evident that they represent the same lady.
The version belonging to the Duke of Buccleuch is almost identical
with the Windsor miniature, but is a better work and slightly smaller,
being only two inches in diameter. It was last publicly exhibited at
the Burlington Fine Arts Club, in 1909.3 It was formerly in the
collection of the Earl of Arundel, and when there was etched by
Hollar in 1646. It was afterwards owned by Jonathan Richardson
the younger (1694-1771), and subsequently by Horace Walpole.
Walpole describes it as : " Catherine Howard, a miniature, damaged,
it was Richardson's, who bought it out of the Arundelian collection.
It is engraved among the Illustrious Heads [of Houbraken] ; and by
Hollar, who called it Mary, Queen of France, wife of Charles Brandon,
Duke of Suffolk." 4 In this he is wrong, for no name is attached to
1 Law, Holbein's Pictures, &c, p. 24. This was before Mr. Cust's discovery of the larger
portrait.
2 Archceologia, vol. xl. p. 78.
8 Case C, 4. Reproduced in Burlington Fine Arts Club Exhibition Catalogue, PI. xxxiii. ;
Ganz, Holbein, p. 148 (4) ; and Cust, Burlington Magazine, July 1910, p. 195. Only a part of
one hand is shown.
* Walpole, Anecdotes, ed. Wornum, i. pp. 94-5. Hollar's etching (Parthey, 1546) is reproduced
by Ganz, Holbein, p. 198 (3); and by Cust, Burlington Magazine, July 1910, p. 195.
VOL. II. N
i94 THE LAST YEARS
it in Hollar's etching, and it was first identified as Catherine Howard
by Mr. Cust. In his Description of Strawberry Hill, however,
Walpole calls it merely " a lady painted by Holbein," and says that
it is " probably Mary Tudor, Queen of France, sister of Henry VIII,
but among the Illustrious Heads called Catherine Howard." Accord-
ing to Granger, it was Vertue who first named it Mary, Queen of France.
The Duke of Buccleuch also possesses a small oil painting on panel,
5 1 in. X4I in., which was likewise at the Burlington Fine Arts
Club (Case C, 24). It is inscribed, by a hand later than that of the
painter of the portrait, " Catherine Howard Henry VIII." Ac-
cording to Scharf, this is " apparently a French work, and, indeed,
thoroughly so in personal characteristics." x It is in the style of
Clouet, and the compilers of the Burlington Fine Arts Club cata-
logue suggest that it may represent Anne de Pisseleu, Duchesse
d'Estampes.
The Windsor drawing 2 bears no inscription, and the sitter is turned
to the right, as in Hollar's engraving, instead of to the left, but other-
wise it shows the same type of features, smooth auburn hair, and
French cap or hood, as in the miniature. The dress, however, in
Holbein's usual fashion, is merely indicated with a few lines, showing
a plain bodice cut square, filled in with white cambric, with a diamond-
shaped opening revealing neck and bosom. It agrees in the same
way with the newly-discovered portrait, of which, though reversed,
it is evidently one of the preliminary studies. The identity with
Catherine Howard is further proved, as Mr. Lionel Cust points out,
by the family resemblance, plainly visible, in certain of the features,
such as the over-accentuated lower jaw, to the portraits of her uncle,
the Duke of Norfolk, and of his son, the ill-fated Earl of Surrey.
In 1898 the Trustees of the National Portrait Gallery acquired a
portrait of Catherine Howard 3 at the sale of the Cholmondeley pictures
at Condover Hall, Shropshire, which closely follows the Windsor
drawing, although in the reverse position. The excellence of the
painting of the hands, and of the details of the dress and jewels, led
at first to the supposition that it might be a genuine work by Holbein
1 Archaologia, vol. xl. p. 87. Reproduced in Burlington Fine Arts Club Catalogue, PI. xxxiv.
2 Woltmann, 329 ; Wornum, ii. 9 ; Holmes, i. 42. Reproduced in Burlington Magazine, vol.
xvii., July 1910, p. 195, together with the two miniatures and Hollar's etching.
s No. 1 1 19. Reproduced by Pollard, Henry VIII, p. 268 ; and in the Illustrated Catalogue,
National Portrait Gallery, vol. i. p. 25.
PORTRAIT OF CATHERINE HOWARD 195
which had undergone some damage and restoration, but closer examina-
tion proved that it was merely a careful contemporary school copy,
or repetition of some lost original. It is inscribed " Etatis sv^e 21,"
which corresponds with the known facts of Catherine Howard's life.
In the summer of 1909 the original picture of which it is a copy was
submitted to Mr. Cust, who recognised it at once as not only a portrait
of Catherine Howard, but as most possibly a genuine work of the
great master, which proved to be the case on the removal of much
dirty varnish and some repaints.1 It came from a private collection
in the west of England, where it had formed part of a series of historical
portraits which had been in the possession of the same family for
several generations, and had been regarded at one time as a portrait
of Eleanor Brandon, Countess of Cumberland, and at another as
Princess Mary Tudor. It is now in Canada, in the collection of
Mr. James H. Dunn.
Henry's fifth Queen is shown seated, at a little more than half
length, turned to the left. The hands are in the same position as
in the miniature, though the fingers are more closely interlaced. Her
hair is auburn, parted in the middle, and the eyes are blue-grey. She
wears, too, a costume of a similar fashion, though of different materials.
The circular French hood, with its heavy band of gold ornament and
black fall, appears to be the same, but the dress is of black satin, with
a square black velvet yoke across the bosom, open at the neck and
turned back to show the white lining. A band or piping of gold
ornament elaborately pierced, with pairs of gold tags at intervals,
runs along the outer seam of the sleeves from shoulder to wrist, and
the white ruffles are embroidered all over with a floral design in black,
The ornaments she wears are of exceptional interest, as they afford
actual evidence that Holbein not only painted portraits of royal ladies,
but also designed their jewellery. Round her neck is a small necklace,
set with pearls and diamonds, less heavy and elaborate than the one
represented in the miniatures, and of greater beauty and delicacy of
design, to which a large pendant jewel is attached. At her breast
is a brooch from which hangs a circular jewel or medallion of chased
gold work, with a large oblong diamond in the centre, on which is
represented the story of Lot's wife and the flight from Sodom. This
1 See Cust, Burlington Magazine, vol. xvii., July 1910, pp. 193-9, reproduced, frontispiece ;
and by Ganz, Holbein, p. 126.
196 THE LAST YEARS
jewel was designed for Catherine by Holbein. It corresponds exactly,
as Mr. Cust points out, with a most characteristic study, a small
roundel placed within an octagon, among the wonderful series of
Holbein's original drawings for jewellery in the Print Room of the
British Museum,1 and thus gives particular interest to a portrait
which in all ways forms a very important addition to the master's
work, both on account of the brilliance of its execution and of its
value as an historical document. Suspended from a chain round her
waist hangs a still larger circular jewel, only the upper part of which
is seen. That portion of the subject which is visible represents two
angels with hands raised in adoration on either side of a crowned and
bearded figure, most possibly the Almighty. The background of the
portrait is a plain one, of Holbein's favourite blue, across which is
inscribed, as in the National Portrait Gallery copy, " Etatis svm 21,"
on either side of the head. It is on an oak panel 29 inches high by
20 inches wide. It must have been painted between August 1540,
the date of her marriage, and November 1541, when she was deprived
of her dignity as Queen, and forbidden to wear jewels ; most probably
in the latter year, according to Mr. Cust, which would correspond with
her accepted age at the time of her marriage. Its importance and
its genuineness have been accepted by such leading authorities as
Dr. Bode, Dr. Friedlander, Dr. Paul Ganz, and Sir Sidney Colvin.
Catherine Howard's reign as Queen of England was a short one.
There is no need to describe her tragic fate in detail. Before the
close of the year 1541 it was discovered that not only had she had two
lovers, one of them her cousin Francis Dereham, before her marriage,
but that she had also been unfaithful to the King almost from the
beginning of her married life, her paramour being one of her gentle-
men, Thomas Culpeper. The Queen and her accomplice, Lady
Rochford, were confined in Syon House, pending a parliamentary
inquiry. Dereham and Culpeper were tried at Guildhall in December,
pleaded guilty, and were hanged at Tyburn twelve days afterwards ;
and in February 1542, Catherine and Lady Rochford were condemned
to death, and were beheaded on the 13th of the month, on the same
spot on which the Queen's cousin, Anne Boleyn, had suffered the same
penalty for the same crime.
1 British Museum Catalogue, 35(E) vol. ii. p. 339. Reproduced in Burlington Magazine,
vol. xvii., July 1910, p. 195. See p. 283 and PI. 50 (2).
PORTRAIT OF THOMAS HOWARD 197
This fresh tragedy in his life greatly aged the King, as can be
seen in the portraits of him painted about this period, usually attri-
buted to Lucas Hornebolt. A month after the execution, Marillac
wrote to Francis I, on March 17, 1542, that Henry was " already very
stout and daily growing heavier, much resembling his maternal grand-
father, King Edward, being about his age, in loving rest and fleeing
trouble. He seems very old and grey since the mishap (malheur) of
this last queen, and will not yet hear of taking another, although he
is ordinarily in company of ladies, and his ministers beg and urge him
to marry again." x
The portrait of Thomas Howard, third Duke of Norfolk, uncle by
marriage to Henry VIII, was painted at about the same time as that
of Catherine Howard. The inscriptions on the fine original version by
Holbein in Windsor Castle (PI. 25), 2 and the excellent contemporary
copy in Arundel Castle, both state that it was taken in his sixty-sixth
year, and as he is said to have been born in 1473, this gives the date of
the picture as 1539 or early in 1540. He is shown standing, at half-
length, slightly turned to the left. He is wearing a doublet of dusky
red silk, edged with brown fur, and a white collar embroidered with
black silk. His outer robe of dark velvet has a deep collar and border
of ermine, and on his head is a plain, flat black hat, without a badge,
over a black skull-cap which covers the ears. In his left hand he holds
the long white wand of his office of Lord High Treasurer, and in his right
the shorter gold baton, tipped with black, which he carried as hereditary
Earl Marshal of England. Across the shoulders hangs the magnificent
and richly-jewelled collar of the Order of the Garter with the pendant
George, which is painted with all Holbein's wonderful mastery in the
clear rendering of minute ornament. The face, clean shaven, and of a
brown complexion, displays remarkable subtlety in the delineation of
a proud and cruel nature. The cold, unflinching eyes, the thin,
compressed lips with their faint, ironic smile, and the bony hands
clasping the staves, reveal the sitter's true character as it has come
down to us in the pages of history, pride of race, cruelty almost re-
morseless in its pursuit of power, and inflexibility of purpose both in
personal aggrandisement and in the service of his royal master.
1 C.L.P., vol. xvii. 178.
2 Woltmann, 267. Reproduced by Law, PI. vi. ; Davies, p. 179 ; Knackfuss, fig. 133 ; Pollard,
Henry VIII, p. 188 ; Ganz, Holbein, p. 123.
198 THE LAST YEARS
The background is green, and across the top of the panel runs the
inscription: "Thomas ■• Dvke • off • Norfolk • Marshall ■ and
TRESVRER OFF • INGLONDE THE • LXVI YERE ■ OF • HIS • AGE." It is
now almost illegible, through the passage of time and over-painting,
but can be deciphered by the aid of the exactly similar inscription
on the Arundel picture. This, as already stated, gives the date of the
portrait as about 1540. The inscription, however, is not contem-
porary, but was probably added some hundred years later, in the reign
of Charles I, when the picture was in the collection of the Earl of
Arundel. It was finely etched by Vorsterman when in the Earl's
possession, in 1630, though without the inscription, but beneath
the plate is engraved : " Hans Holbein pinxit. Visitur in iEdibus
Arondelianis Londini." This does not necessarily prove that the
inscription on the panel did not exist at that date, as Vorsterman
may have omitted it as disfiguring. That it was certainly there
fifteen years later is proved by a coloured drawing on vellum by
Philip Fruytiers, the Antwerp painter, dated 1645, a copy of a study
by Van Dyck representing a large group of Thomas Howard, Earl
of Arundel, his wife, and family. On the wall in the background
Van Dyck had inserted, and Fruytiers has copied, on the one side,
this very portrait of the Duke of Norfolk by Holbein, in which the
inscription across the top of it in gold letters can be plainly seen, and
on the other side the portrait of his son, the Earl of Surrey, also evi-
dently a work by Holbein, though the original painting is now lost,
which is inscribed : " Henry Howard Erle of Suhry anno ^etatis
svm 25." This water-colour drawing, which is signed " An. Vandyke
inv. Ph. Fruytiers fecit 1645," is in the collection of the Duke of
Sutherland, and there is a small copy of it in oils on copper at Norfolk
House, which also shows the inscription. It was engraved by Vertue
in 1743. The original sketch or composition by Van Dyck has
been lost.
It is supposed that the Windsor version is the one which was in
the Arundel Collection, but its subsequent history is uncertain. That
collection was divided in 1686, and the share which fell to the Duke of
Norfolk may possibly have contained this portrait of his ancestor.1
1 The only portrait of the Duke mentioned in the Arundel inventory of 1655 has no artist's
name placed against it, but it comes next to the portrait of the Earl of Surrey, which is given to
Holbein. It is entered as " Ritratto de Tomaso Howard, Ducha de Nordfolk."
I t.II
Vol. II., Plate 25
THOMAS HOWARD, DUKE OF NORFOLK
Windsor Castle
PORTRAIT OF THOMAS HOWARD 199
The Duke's pictures were sold in 1692, and nothing further is to be
heard of this portrait until it is mentioned by Walpole as being then
(1762) in Leicester House, at that time the dower-house of the Dowager
Princess of Wales, widow of Frederick, Prince of Wales.1 " There
can be no doubt," says Mr. Ernest Law, " that the picture passed,
on the death of the Princess in 1772, into the possession of the Crown
with the rest of the collection which had been formed by Prince
Frederick." 2 It is not known from whom that Prince acquired it,
but many of his pictures were purchased for him on the Continent by
his agent, Bagnols, and it is not unlikely that Woltmann's surmise
is correct, and that it is to be identified with the portrait of the Duke
which appeared in the catalogue of an anonymous sale of pictures at
Amsterdam on April 23, 1732, as " Een zeer konstig uitmuntent stuk
door Hans Holbeen, zynde de Hartog van Nortfolk nooit zoo goet
gezien," which must have been a fine work, as it fetched the re-
latively high price of 1120 florins.3 It is quite possible, therefore,
that the portrait was one of those sold by Lord Stafford in Amsterdam
in 1654, immediately after the death of the Countess of Arundel, and
that it was never in the possession of the Duke of Norfolk, but remained
in that town until 1732.
The copy at Arundel Castle, about which still less is known, is so
good that it is only when it is placed side by side with the Windsor
version, as it was in the Tudor Exhibition in 1890, that the latter is
seen to be by far the finer work of the two. The Arundel picture is
slightly the smaller, and was last exhibited at the Burlington Fine
Arts Club in 1909 (No. 49). There is a second version of this portrait
in the Norfolk collection, at Norfolk House, in which various altera-
tions have been made in the position and the dress, and a more
elaborate background has been added. It is a work of comparatively
little merit, and appears to have been painted during the seventeenth
century by some inferior artist.
At the time he sat to Holbein the Duke was at the height of his
power. He had been the bitter enemy of both Wolsey and Cromwell,
and had assisted to bring about the downfall of both, and had arrested
the latter with his own hands. After Cromwell's execution he became
the most powerful of Henry's subjects, and reached his highest summit
1 Walpole, Anecdotes, &c, ed. Wornum, i. p. 83.
* Law, Holbein's Pictures, &c, p. 19. s Woltmann, ii. pp. 57 and 156.
200 THE LAST YEARS
of greatness. His influence over the King, however, waned after the
fall of his niece, Catherine Howard, when he was supplanted by his
enemies, the Earl of Hertford and the Seymours. In 1546 he was
attainted, together with his son, the Earl of Surrey, for high treason,
and only escaped the latter's fate by the death of the King on the
day the warrant for his execution was made out. He remained in
the Tower throughout the reign of Edward VI, but was released on
the accession of Queen Mary in 1553, and his titles and estates were
restored to him, but he only lived to enjoy them for a year.
That Holbein painted his son, Henry, Earl of Surrey, is proved
by the small portrait on the wall in Fruytiers' version of Van Dyck's
picture of the Arundel family. The inscription on this miniature
copy gives his age as twenty-five ; and as he was born about 1517,
Holbein must have painted him about 1541. He is represented with
reddish hair and beard, and brown eyes, the head slightly turned to
the right, and wears a black cap with a feather, and a black mantle
from the folds of which the right hand appears. There is a small
drawing in the Windsor Collection wrongly inscribed " Tho. Howard
E. of Surrey," 1 which bears some likeness to the Earl in the Fruytiers
drawing, and is supposed to represent Henry Howard. It is badly
rubbed, and has suffered from retouching and certain coarse altera-
tions, and has the slightly- wavering touch which marks the so-called
" Melanchthon " in the same collection. It is apparently the original
study for the portrait which was engraved by Hollar when it was in
the Arundel Collection.2 There are two other heads at Windsor
also named Thomas Howard, Earl of Surrey, but the attribution cannot
be correct, as Surrey's son, Thomas, was a small boy of only six or
seven at the time of Holbein's death. Whether the drawings repre-
sent the poet himself is also doubtful. One of them, inscribed " Thomas
Earl of Surry " (PI. 26) ,3 in which he is shown full face, clean shaven,
with hair cut straight across the forehead and partly covering the ears,
and wearing a black cap with scalloped edges and an ostrich feather,
is one of the finest drawings in the whole collection, conspicuous for
the delicacy of the modelling and the freedom and expressiveness
1 Woltmann, 312 ; Wornum, ii. 8; Holmes, ii. 19.
8 Parthey, 1509. Reproduced by Ganz, Holbein, p. 197 (2). The portrait itself is described in
the Arundel inventory of 1655 as " Ritratto de Henrico Howard, Conte de Surrey."
3 Woltmann, 314; Wornum, ii. 6; Holmes, i. 20. Reproduced by Davies, p. 180, and
elsewhere.
ds 3TAJ*! ,.II .JOV
200
of greatness
fall of his n
enemies, th<
attainted, t(
and only es
day the wa
the Tower t
the accessio]
restored to li
That Ho
by the smal
picture of 1
copy gives r.
Holbein mu<
reddish hair
the right, ai
from the id.
drawing in t
E. of Surrey
drawing, an<
rubbed, and
tions, and h
" Melanchth(
study for th<
the Arundel
also named 1
be correct, a
seven at the
sent the poet
Earl of Surrj
with hair cut
and wearing
is one of the
the delicacy
1 Woltmann, 3
2 Parthey, 150"
the Arundel inventory
3 Woltmann, 314 ;
elsewhere.
THE LAST YEARS
V t^ !_, U 1V1 E, 111
JD^UJL^JLd^JLJLl^
IN MEMORIAM
HERBERT LEE PRATT
1871-1945
_OlT the meeting of the Board of Trustees of the Metro-
politan Museum of Art held on February 19, 1945, the
following minute in honor of Herbert L. Pratt was read
and approved by a rising vote:
The death of Herbert L. Pratt on February 3, 1945.
brought to a close a term of eight helpful years as a Trustee
of The Metropolitan Museum of Art. He was elected to the
Board on January 18, 1937, and served from time to time on
the following committees: the American Wing, Arms and
Armor, Auditing, Egyptian Art, and Greek and Roman Art.
His interest in the activities of the Museum was keen and
informed, his counsel wise, and his taste broad and dis-
criminating. All these qualities made him a Trustee whose
place will be difficult to fill. His fellow Trustees will miss
his genial and pleasant presence at their meetings.
of 1655 as " Ritratto de Henrico Howard, Conte de Surrey."
Wornum, ii. 6; Holmes, i. 20. Reproduced by Davies, p. 180, and
ds stajI ,.II ..toV
Y3JMU8 TO J3A3 .(!>{/. //OH YJIHaH
"fa-mwoH . oeni yfgo >.'//
■>.t,3 aoaamW
Vol. II., Plate 26
HENRY HOWARD, EARL OF SURREY
Wrongly inscribed " Thomas Howard "
Drawing in black and coloured chalks
Windsor Castle
PORTRAITS OF HENRY HOWARD 201
of the draughtsmanship. The face is one of considerable charm,
which is not to be seen in the third drawing,1 inscribed " Tho. Earle
of Surry," perhaps a little later in date, in which the head is turned
slightly to the left, and the hair entirely covered with the black skull
cap he wears beneath the feathered bonnet. The dress is only slightly
indicated, and is rubbed, and a circular medallion suspended from a
broad ribbon hangs on his breast. A portrait of his wife is also to be
found among the Windsor heads,2 full face, wearing the angular
English head-dress with black fall, and a round jewelled ornament
hanging from a chain round her neck, and a second medallion on her
breast. The dress which, like the ornaments, is badly rubbed, was
of rose-coloured velvet, according to a note in Holbein's handwriting.
The portrait for which this drawing was the study, like that of her
husband, cannot now be traced. The two full-length portraits of
Henry Howard, dated 1546, at Arundel Castle and at Knole re-
spectively, are usually ascribed to the Netherlandish painter Guillim or
Gillam Stretes, on account of Strype's statement, already quoted,3
that in 155 1 the Privy Council ordered a picture " of the late Earl of
Surrey, attainted," to be fetched away from " the said Guillim's
house." The Duke of Norfolk's version of the portrait4 has a very
elaborate architectural setting, coarsely painted in stone colour, and
apparently of a somewhat later date than the rest of the picture,
while the one belonging to Lord Sackville at Knole shows the figure
only, and is looked upon by some authorities as the original. The
attribution of these two pictures to Stretes is extremely doubtful.
The Arundel portrait, in particular, suggests the hand of an Italian,
and the name of Nicolas Bellin of Modena may be tentatively sug-
gested. One of them was in the collection of Thomas Howard, Earl
of Arundel, where it was attributed to Holbein. It is described in
the inventory of 1655 as " il ritratto del Conte de Surry grande del
naturale."
Only three dated works of the year 1541 remain ; the two fine
portraits of men in the Berlin and Vienna Galleries, and the miniature
of Charles Brandon, the younger son of the Duke of Suffolk. The Berlin
1 Woltmann, 313 ; Wornum, i. 35; Holmes, i. 21.
* Woltmann, 330 ; Wornum, ii. 24 ; Holmes, i. 22. s See p. 168.
4 Exhib. Burlington Fine Arts Club, 1909, No. 54. Reproduced Arundel Club, 1907, No. 3;
Pollard, Henry V/II, p. 284.
202 THE LAST YEARS
panel,1 (No. 586 C), is inscribed at the top, in gold, on either side of
the cap, " anno 1541," and lower down, in smaller letters, level
with the sitter's ears : " Etatis : sv^e : 37." The coat of arms,
enamelled in red and white, on the gold ring on his left hand, in-
dicates that in all probability this young man was a member of the
Dutch family of Vos van Steenwijk, though the writer has failed to
trace the name, or any indication of a sojourn in or visit to England
on the part of its bearer, in the Calendars of the English State Papers.
It is a half-length portrait, considerably less than life-size, head and
body turned to the right, but both eyes shown. The eyes are grey,
and the finely painted beard and moustache are a reddish brown.
In his clasped hands he holds a pair of brown gloves. He wears a
black silk under-dress and a surcoat of black or very dark brown, with
the collar turned over to show the lining of black watered silk, and
his flat cap of the same colour has a turned-down brim. He is gazing
to the spectator's right with a far-away and slightly melancholy look
in his eyes, which are wonderfully painted, as is the beautiful and
expressive left hand. It comes from the Von Sybel, Elberfeld, Merlo
of Cologne, and Suermondt collections, having been purchased from the
last named owner in 1874.
The picture of an unknown man, aged twenty-eight, at Vienna 2
(No. 1479) (PI. 27), is still finer in expression, and, indeed, is one of
the most brilliant portraits of Holbein's later years. It is one of his
customary half-length figures, less than life-size, seated at a table, the
body turned to the right, and the face looking out at the spectator. His
doublet is of purple-brown silk, and over it he wears the usual black
cloak with a deep collar and lining of brown fur, and black cap with
a brim. The collar of his white shirt is beautifully embroidered with
black Spanish work and tied with black laces. His grey gloves are
held in his left hand, and his right rests on the olive-green cloth of
the table, the forefinger being thrust within the pages of a gilt-edged
book, near which is placed an inkstand with a red cord. On one of
his rings is an intaglio. The clean-shaven face, showing blue on chin
and upper lip, is of a ruddy brown complexion, and the hair, which
does not cover the ears, is almost concealed by the hat. The unknown
1 Woltmann, 117. Reproduced by Knackfuss, fig. 134 ; Ganz, Holbein, p. 128.
* Woltmann, 254. Reproduced in the Vienna Catalogue, p. 343 ; Knackfuss, fig. 136; Ganz,
Holbein, p. 127.
JS M'l'A.i'l .11 .loV
Vol.. II., Plate 27
■
PORTRAIT OF AN UNKNOWN YOUNG MAN
iS4i
Imperial Gallery, Vienna
PORTRAIT OF A MAN WITH A FALCON 203
sitter, who appears to be an Englishman, is comely in features, and
the eyes have a far-seeing, visionary expression, which Holbein has
rendered with extraordinary vividness and subtlety of drawing.
The upper part of the background consists of a blue-grey wall, with
wooden panelling, or the back of a long wooden seat, below, and the
panel is inscribed on either side of the head : " anno • dni • 1541 •
etatis • sv^e -28." It was in the collection of the Archduke Leopold
William in the seventeenth century. There is an old copy of this
picture in the Palermo Gallery (Woltmann, 223).
To the year 1542 belongs the small portrait of an unknown English-
man in the Hague Gallery (No. 277) (PI. 28) ,* which, again, is brilliant
in execution, the details painted with the minutest care, but with
a touch both delicate and free from all hardness, and unusual rich-
ness of colour. The head is full face, the body turned slightly to the
left. His closely cropped hair is chestnut in colour, turning to red at
the ends of his moustache and short pointed beard. It is almost the
only portrait by Holbein in which the sitter is shown without a hat.
He wears a dress of black velvet and watered silk with a pattern,
slashed with red silk at the shoulder and wrist. On his left hand,
which is gloved, stands his falcon, a large bell on its claw. His right
hand, in which he holds the bird's hood, is ungloved, with a gold ring
set with a stone on the little finger. The light falls from the right,
and the shadow on the left side of the face is more strongly marked
than in most of Holbein's portraits. The modelling is fine, the face
full of strong character, and, as usual, the hands are most expressively
painted, the whole presentment being most vivid and life-like. The
background is a plain blue-grey, of much the same tone as that in
the portrait of 1541 at Vienna. Across the panel is inscribed, on
either side of the head, the date 1542, and lower down " anno • etatis •
sv^E • xxviii." Little is known about the history of this picture,
except that it was at one time in the royal collections of England, and
that it was taken to Holland by William III, and was included in the
list of works of art reclaimed by Queen Anne after that King's death.2
Like the portrait of Cheseman, however, it remained abroad. It is
inscribed on the back " The manner of Holbein," and in old catalogues
was absurdly described as a portrait of Sir Thomas More.
1 Woltmann, 160. Reproduced by Mantz, p. 171 ; Ganz, Holbein, p. 129.
* No. 21. "A man's head with a hawk by Holbein."
2o4 THE LAST YEARS
It is probable that during this year Holbein painted Sir William
Fitzwilliam, created Earl of Southampton in 1538, who died at New-
castle in 1543. There is a fine drawing of the head in the Windsor
Collection,1 turned three-quarters to the right, wearing a black cap
with a medallion, and ear-flaps, or a coif, tied under the chin ; slight
whiskers are indicated on the cheek-bones. It is a face of strong indi-
viduality, with a big nose, finely and boldly drawn, the dress only roughly
indicated. There is a full-length portrait of the Earl, 6 ft. x 3 ft.
3 in., in the Fitzwilliam Museum, Cambridge (No. ii. 164) ,2 which is
described in the catalogue as probably a copy of the original picture
by Holbein which, in 1793, was destroyed by fire at Cowdray House,
the estate purchased by the Earl in 1528. He is represented standing
to the right, and wearing a black cap tied under the chin as in the
Windsor drawing, a long black cloak with fur collar reaching to the
knees, dark hose and shoes, and the collar and jewel of the Garter
round his neck. He grasps a gold-headed staff in both hands, and
stands on a terrace with a low parapet and a pavement of black and
red tiles, overlooking a distant landscape consisting of wooded country
and a land-locked harbour or estuary of a river with ships. His coat
of arms is in the top left-hand corner, and in the right an inscription
giving his titles and offices, as Lord Privy Seal and Chancellor of the
Duchy of Lancaster, and the date 1542. The supposition that this
picture is a copy after a lost original by Holbein is probably correct ;
it is quite in his manner, though in workmanship it in no way reaches
to his mastery, the landscape background in particular showing an
indecisive touch quite unlike his firm handling. A copy of the head,
evidently taken from this picture, a small panel, 13^ in. x o,f in., was
lent to the Burlington Fine Arts Club Exhibition, 1909 (No. 34) ,3 by
the Duke of Devonshire, which is inscribed across the brown back-
ground, in an eighteenth-century hand, " Sir Thomas Moore." The
compilers of the Burlington Club catalogue do not accept the Cam-
bridge portrait on which it is based as a copy after Holbein, but as an
original work, and clearly by the same hand as the Earl of Surrey at
Knole, the full length of a young man in Hampton Court Palace, and
1 Woltmann, 291 ; Wornum, i. 5 ; Holmes, i. 17. Reproduced in Drawings of Hans Holbein
(Newnes), PI. xl.
2 Reproduced in F. R. Earp's Catalogue of the collection, 1902, p. 96 ; and in Principal
Pictures of the Fitzwilliam Museum, Gowan & Grey, Ltd., p. 85.
3 Reproduced in the Catalogue, PI. v.
•i (.ir
Vol. II., Plate 28
PORTRAIT OF AN UNKNOWN MAN WITH A FALCON
1542
Royal Picture Gallery, Mauritshuis, The Hague
UNDATED PORTRAITS OF LAST YEARS 205
the Sir Thomas Gresham in Mercers' Hall, with which the name of
Guillim Stretes has been connected, though on somewhat flimsy founda-
tions.1 The Windsor head, however, is in such close accord with the
Fitzwilliam Museum picture that it seems reasonable to suppose that
the latter was based on it, or, rather, upon some painting of Holbein's
for which it formed the preliminary study. There were two portraits
of the Earl in the Arundel Collection, both attributed to Holbein.2
In 1542 John Leland's " Naeniae " on the death of Sir Thomas
Wyat was published, with the small circular woodcut of the poet after
a drawing by Holbein, which has been already described ; 3 but other-
wise the only dated portrait of this year is the one of the young man
with the falcon at the Hague, though there are several which must
have been painted shortly before his death. Those of Dr. John
Chamber and Sir William Butts and his wife must have been pro-
duced in 1542 or the earlier half of 1543, while others, such as the
" Elderly Man " at Berlin, the small portrait of an English lady at
Vienna, and the Simon George at Frankfurt, may be attributed with
some certainty to the last seven or eight years of Holbein's life. It is
probable, too, that he painted at about this time another portrait of
the Prince of Wales. No such painting now exists, but the full-faced
head with a cap in the Windsor Collection 4 represents Edward as a
boy of about five or six years of age, and certainly older than in the
Hanover picture, while in the profile head with cap and feather in
the same collection of drawings,5 which forms the basis of numerous
portraits in the National Portrait Gallery and elsewhere, the boy seems
even older, though he was only six at the time of Holbein's death.
The portrait of an Unknown Man, aged fifty-four, in the Berlin
Gallery (No. 586 I) (PL 29 (i)),6 is another work of great power in its
suggestion of life-like portraiture, and of high technical excellence. He
1 See Burlington Catalogue, p. 86. In one of his articles on the Arundel Collection (see
Burlington Magazine, vol. xxi., August 1912, p. 257), Mr. Lionel Cust speaks of this head of the
Earl, at Hardwick Hall, as "perhaps by Holbein himself," and states that, according to Vertue,
in the sale of the Earl of Oxford's pictures, 1741, there was sold " Lord Fitzwilliams," a head by
Holbein, for fifteen guineas.
2 " Ritratto de ffitzwilliams Conte de Southampton," and " Conte de Southampton
Fitzwilliams." 3 See p. 80.
* Woltmann, 327 ; Wornum, ii. 2 ; Holmes, not included. See above, p. 167.
5 Woltmann, 328 ; Wornum, ii. 3 ; Holmes, ii. 1. See above, p. 167.
• Woltmann, 211. Reproduced in the Berlin Catalogue, p. 178 ; Ganz, Holbein, p. 142 ; and in
colour in Early German Painters, folio vi.
206 THE LAST YEARS
is shown to the waist, slightly turned to the right. The face is a
dignified one, with a long nose, and a slight droop in the right eyelid,
and a look of melancholy absorption about his dark grey eyes. The hair
and long beard are black, the latter with numerous grey hairs finely
indicated with all Holbein's customary minute care. The hands are
thrust out of sight within the sleeves. His doublet, of which only the
lower part of the sleeves is visible, is of ruby-red silk or satin, over which
is a black or dark-brown coat with bands of black velvet, and lined
with a patterned watered silk. The black cap has gold tags. The plain
background is a greyish-blue, and on either side of the head is inscribed
in gold lettering, " iETATis • sv^e • 54." On the back of the panel
are the letters " W.E.P.L.C.," apparently in a sixteenth-century hand,
probably the mark of some early English collector. The same letters
appear on the back of the portrait of Robert Cheseman at the Hague,
and on the portrait of a young man by Joos van Cleve in Berlin
(No. 633 A), which was formerly in the Marlborough Collection, where
it was at one time attributed to Holbein. Nothing of the early history
of the portrait under discussion is known. It belonged at one time
to Sir J. E. Millais, and was lent by him to the Holbein Exhibition in
Dresden in 1871, where it was acknowledged by the leading German
critics to be a splendid example of the master's later English period.
It was purchased at the Millais sale, in 1897, for 3000 guineas for
the Kaiser Friedrich Museum. There is a poor and lifeless copy of
the head of this portrait in the collection of Mr. John G. Johnson, of
Philadelphia.1 The panel is a pastiche, for the copyist has attached
the head of the Millais portrait to the body of the Unknown Young
Man aged twenty-eight in the Vienna Gallery. In the copy of the
head the hat is without the gold tags, the beard is slightly shorter,
and the sitter appears to be somewhat younger. In that of the body
the dress, hands, the rings, gloves, and book follow the Vienna picture
closely, but the copyist has removed the two rings on the little finger
of the right hand to the more usual ring-finger. Mr. C. Ricketts
regards it as " almost certainly modern. In draughtsmanship it is
without subtlety, the nostril is preposterous, the under lip like a
muffin." 2 Mr. F. J. Mather considers it to be old, and of fair quality.
1 Reproduced in the Burlington Magazine, vol. ix., August 1906, p. 357 ; and Ganz, Holbein,
p. 228. It has no inscription.
2 Burlington Magazine, vol. ix., September 1906, p. 426.
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PORTRAIT OF SIMON GEORGE 207
" It is pretty surely of Holbein's century, and of better quality than
the reproduction indicates." *
The portrait of an unknown English lady in the Imperial Gallery,
Vienna (No. 1483) (PL 29 (2)),2 is almost miniature in size, and is
characterised by the most delicate brush-work and great charm and
richness of colour. She is shown to the waist, full-face, the body turned
slightly to the left, and her hands clasped in front of her. The dress is
of dark brown or puce, with the yoke and central hanging part of the
sleeves of black velvet. The sleeves from the elbow are of red velvet
slashed with white at the wrists. She wears a French head-dress of
white and gold, with black fall, closely resembling the one in the portrait
of Catherine Howard. The hair is a dark reddish brown. At her
breast is suspended a circular gold ornament upon which is represented
figures sacrificing at an altar, possibly of Holbein's designing. The
background is a deep grey-blue, surrounded by a frame imitating
stonework. It has no inscription.
Another small work of much beauty and delicacy of workmanship,
and charm of expression, is the portrait of Simon George, of Quocote,
in Cornwall, in the Stadel Institut in Frankfurt (No. 71), 3 a profile
portrait to the left, showing the head and shoulders only, and the
right hand, in which the sitter holds a carnation. He has dark, closely-
cropped hair and pointed beard, with a black cap over the right ear,
elaborately ornamented with a white feather, many gold tags, an oval
medallion with a representation of Leda and the Swan, and a small
bunch of enamelled pansies. His dress is a rich one, and the open
collar of the shirt is covered with black embroidery of a floral pattern
of conventional design. The background is of greenish blue, and
some letters of a two-lined inscription, of later date than the painting,
mutilated by the reduction of the panel, which appears to have been
originally round, can still be traced, including the letters nob and part
of the painter's signature, " ioha : h." It was acquired in 1870
from the Brentano-Birckenstock sale. The original study for the
head is in the Windsor Collection,4 and shows the same slight frown
1 Burlington Magazine, vol. x., November 1906, p. 138.
2 Woltmann, 253. Reproduced in Vienna Catalogue, p. 346; Knackfuss, fig. 138; Ganz,
Holbein, p. 140 ; and in colour in Early German Painters, folio iii.
3 Woltmann, 151. Reproduced by Knackfuss, fig. 137 ; Ganz, Holbein, p. 139 ; and in colour
in Early German Painters, folio vi.
4 Woltmann, 309; Wornum, i. 15 ; Holmes, i. 49. Reproduced in Drawings of Hans Holbein,
PI. xviii.
208 THE LAST YEARS
wrinkling the forehead as in the picture. The hairs of the moustache
are very carefully drawn, but the beard only shows a few days' growth.
It is inscribed at the bottom, in cursive writing, " S. George of
Cornwall."
The portrait of Dr. John Chamber or Chambre in the Imperial
Gallery, Vienna (No. 1480) (PI. 30) ,l is one of Holbein's most
powerful portraits of old men, the deeply-lined, clean-shaven face
being full of individuality. He is shown to the waist, turned three-
quarters to the right, in a plain black doctor's cap, which covers the hair
and hides all but the lobe of the ears, and a black gown with brown fur
collar ; and he holds a pair of grey gloves in his hands. The back-
ground is a very dark blue, and is inscribed, on either side of the head,
"^tatis sve 88." The date of John Chamber's birth has not been
traced, but the portrait was probably painted in 1541 or 1542, when
Holbein was engaged upon the big " Barber-Surgeons " picture, in
which Chamber is introduced in much the same position as in the
Vienna portrait. He died at an advanced age, well over ninety, in
1549. He was one of the King's physicians, and his name was the
first on the roll of six doctors who in 15 18 received letters patent
from the Crown giving them the privilege of admitting other physicians
to practise medicine in London, which was the original foundation of
the Royal College of Physicians. Chamber was joint author with
Dr. Butts and two others of a manuscript " Pharmacopoeia " for the
use of Henry VIII. As Court physician he attended Anne Boleyn at
Greenwich Palace at the birth of the Princess Elizabeth, and it was
he who reported to the Privy Council the critical condition of Jane
Seymour when Edward VI was born. He married Joan Wardell in
!545> when he was nearly ninety, and their son was christened in the
following year, both he and his wife dying within a few weeks of one
another in 1549. His career, however, was more remarkable for the
many religious preferments he gained, than for his medical skill.
Born in Northumberland, he became a priest in early life, and
was a Fellow, and afterwards Warden, of Merton College, Oxford.
In 1502 he went to Italy and graduated in physic in Padua. On
his return to England he succeeded Linacre as the King's chief
physician. In 1522 he was Canon of Windsor, in 1536 Dean of the
1 Woltmann, 255. Reproduced in Vienna Catalogue, p. 344 ; Knackfuss, fig. 147 ; Ganz,
Holbein , p. 131.
0£ STAJ^ ..II
Vol. II., Plate 30
DR. JOHN CHAMBER
Imperial Gallery, Vienna
PORTRAIT OF DR. JOHN CHAMBER 209
Collegiate Church of St. Stephen, and later on Archdeacon of Meath.
A very excellent copy of this portrait is in the possession of Merton
College, Oxford, and was included in the Oxford Exhibition of Historical
Portraits in 1904 (No. 27). It is inscribed on the back : " Dr. Chamber,
phisician of King Henry VIII, copied from Harms Holbein's original
by H. Reinhart. The original, once belonging to the collection of King
Charles I, was, together with several other pictures of the same master,
after the execution of this Monarch, sold and became the property of
Archduke Leopold, Stadtholder of the Low Countries, from whence by
legacy it passed into the Gallery of the Emperors of Austria (Ob. 1549)."
The original portrait, however, does not appear at any time to have
been included in the collection of Charles I, but it formed part of the
wonderful series of works by Holbein got together by Thomas Howard,
Earl of Arundel. In the Dictionary of National Biography the date
of his birth is given as 1470, while the Oxford catalogue suggests the
date 1469, but neither can be correct, or otherwise the date of the
Vienna picture would be 1557 or 1558, fourteen years or so after
Holbein's death. If the age of the sitter, eighty-eight, as given on
the panel, is correct, and it is accepted that the portrait was painted
about 1542, Chamber must have been born about 1454. The Merton
College copy was exhibited at the Royal Academy Winter Exhibition,
1901-2 (No. 155), as a work of the school of Holbein. In 1894 the
Royal College of Physicians became possessed of a miniature portrait
of Chamber, painted on the back of the ten of clubs, and said to be by
Isaac Oliver. This is a careful copy of the Vienna picture, and has
a long Latin inscription, giving Chamber's titles, and the date of his
death, round the frame. The original, when in the Arundel Collec-
tion, was engraved by Hollar (Parthey, 1372), with the inscription
" D. Chambers Anno iEtatis Svae 88. Holbein pinxit." In the
Arundel inventory it is described as " Doctore John Chambers." It
is possibly one of the pictures which remained on the Continent after
the death of the Countess of Arundel in 1654.
The portraits of Sir William and Lady Butts,1 which have suffered,
more particularly the former, from coarse repainting, are probably
of about the same date as the Dr. Chamber, for Butts is also one of
the prominent figures in the " Barber-Surgeons " group. The portrait
1 Woltmann, 204, 205. Reproduced by Ganz, Holbein, pp. 132-3 ; and in Go wan, Master-
pieces of Holbein, pp. 41, 42. The portrait of Lady Butts engraved by Hollar, 1649.
VOL. II. O
210 THE LAST YEARS
of the husband has an inscription which has been repainted by an
ignorant copyist, and now reads " anno atats sve lix." Unfortu-
nately, as in the case of Chamber, the year of Butts' birth is not known,
so that the exact date of the portrait cannot be proved. It is given
in the National Portrait Gallery Catalogue as 1485 (?). His tomb-
stone at Fulham bears only the date of his death, 1545. The portraits
show the heads and shoulders only. Sir William is represented in
profile to the right, in black cap and furred gown, and a heavy gold
chain upon his shoulders. His face is clean shaven, and his grey hair
almost covers the ears. Lady Butts is painted almost full-face, but
turned slightly to the left. She wears the angular English head-dress
with black fall, a plain dress with fur- trimmed mantle, and a large
enamelled rose at her breast. Above her head is inscribed " anno
^tatis sve lvii." Both portraits were in the National Portrait
Exhibition, 1866, lent by Mr. W. H. Pole Carew, and are now in the
collection of Mrs. John Gardner, Fenway Court, Boston, U.S.A.
They are about 18 in. x 14 in., and the green backgrounds and in-
scriptions of both pictures have been badly repainted. There is a
good copy or replica of Sir William in the National Portrait Gallery i
(No. 210), and copies of both husband and wife, apparently seven-
teenth-century work, in the collection of Mr. F. A. Newdegate-Newdi-
gate, at Arbury, Warwickshire. There is no head of Butts among
the Windsor drawings, but that collection contains a masterly one
of his wife,2 in which the lines of the face are very strongly marked.
She was a daughter of John Bacon of Cambridgeshire. The portrait
of their third son, Edmund Butts, of Thornham, Norfolk, who died at
the age of thirty in 1549, *s m the National Gallery (No. 1496), and is
regarded as a work of that little-known English painter John Bettes.
This portrait is dated 1545, and the age of the sitter is given as twenty-
six, and on a card on the back is the inscription " faict par Johan
Bettes Anglois." 3
In the exhibition held at the Burlington Fine Arts Club in 1909,
Prince Frederick Duleep Singh lent a portrait (No. 30), also dated 1545,
said to represent Edmund Butts, and attributed by the owner to Bettes.
The armorial bearings on this picture indicate a member of the Butts
1 Reproduced in the illustrated edition of the National Portrait Gallery Catalogue, vol. i. p. 21.
2 Woltmann, 343; Wornum, ii. 36; Holmes, ii. 13. Reproduced by Davies, p. 220, and
elsewhere. 3 For some account of Bettes, see pp. 308-9.
PORTRAIT OF SIR WILLIAM BUTTS 211
family, but the person represented is certainly not the same as in the
National Gallery portrait, nor do the two appear to be the work of the
same painter.
Dr. Butts was in receipt of a salary of £100 a year from the King,
and was the favourite physician about the Court. He was a native
of Norfolk, and educated at Cambridge. Many prescriptions in his
handwriting are preserved in the British Museum. He appears as
one of the characters in Shakespeare's Henry VIII (Act v. sc. 2),
and his name occurs in a number of contemporary letters. Thus, in
1537, the Earl of Shrewsbury wrote thanking Cromwell " for asking
the King to licence Dr. Buttes to come to him " ; x and on October 6,
1542, the Earl of Southampton wrote to Wriothesley from York, when
upon the expedition against Scotland : " Recommend me to Butts,
and thank him for his pills. I would not have foregone them at this
time for all the good I have." 2 In spite of the pills, however, the
Earl died at Newcastle nine days later.
A small half-length portrait of an Unknown Man in the Basel
Collection (No. 327) ,3 belongs to the later period of Holbein's English
residence. He is turned three-quarters to the left, and wears the
customary dark fur-lined surcoat and black cap, and dark purple
sleeves, and holds his gloves and a paper, upon which the inscription
is now illegible, in his clasped hands. The beard, moustache, and
hair are dark. This picture, which was purchased in Basel in
1862, has been more than once restored, so that Holbein's handiwork
has suffered considerably. Another small picture which is also
now in a damaged state is the portrait of a young English lady
in the collection of Count Lanckoronski in Vienna,4 which was
regarded by Woltmann as probably by Holbein, but when exhibited
in the Dresden Exhibition of 1871 was declared by the critics to
be a genuine work. It is similar in style to the small portrait of a
Lady in the Vienna Gallery, and of about the same date. She is
shown at half length, turned a little to the spectator's right, with
clasped hands, and wearing a dark dress with red puffings and gold
tags from shoulder to wrist, and a French hood with bands of gold
ornaments and a black fall. Round her neck is a gold chain with a
1 C.L.P., vol. xii. pt. i. 328. 2 C.L.P., vol. xvii. 912.
3 Woltmann, 22. Reproduced by Ganz, Holbein, p. 141.
Woltmann, 260. Reproduced by Ganz, Holbein, p. 144.
212 THE LAST YEARS
pendant with seven flat stones, a second gold chain, and a large brooch
fastened at her breast with a cameo of a double head, a young man's
shown full face, attached to one of a lady in profile. Across the
plain green background, on either side of her head, is inscribed " Anno
etatis svm xvii." In appearance she is stolid and unattractive, but
this may be partly due to the present state of the picture.
There remains one other portrait of a lady of about this date —
that of Lady Rich,1 which until 191 2 had been for many years in the
possession of the Moseley family at Buildwas Park, Shropshire. The
sitter is represented to the waist, slightly turned to the right, and
wears the English diamond-shaped hood with black fall, and a black
dress with a gold medallion decorated with the figures of a man and
woman by a corpse, which, according to Wornum, are " exquisitely
put in." 2 According to the same writer, it is "a fine expressive
portrait, with a thin rich carnation." It is painted on wood, 17 in.
by 13 in., and has suffered some retouching. The face is a most
determined one, as can be seen from the fine preliminary drawing in
the Windsor Castle Collection.3 Lady Rich was the daughter and
heiress of William Jenks or Gynkes, a rich London grocer, and she
married, in 1535, Lord Chancellor Rich, of notorious memory, who
helped to ruin many of the prominent men of his day, such as More
and Fisher. In the seventeenth century the portrait became the
property of the Rev. Herbert Croft, Bishop of Hereford, whose grand-
daughter, Elizabeth Croft, married Acton Moseley, of Staffordshire.
In 1792 the portrait, with some other pictures, was bequeathed by
Sir Archer Croft to his cousin, Mr. Walter Michael Moseley. The
latter 's descendant, Captain H. R. Moseley, parted with the picture
in 1912, and it is now in an American collection.4 It was last
exhibited at the National Portrait Exhibition at South Kensington in
1866 as a portrait of " Queen Katherine of Arragon." There is also
a drawing of her husband, Richard Rich,5 at Windsor, and Holbein
must almost certainly have painted his portrait, but all traces of it
have been lost. A version of it was among the pictures destroyed
by fire at Knepp Castle in 1904.
Among the very last works from Holbein's hand must have been
1 Woltmann, 128. 2 Wornum, p. 296.
3 Woltmann, 319 ; Wornum, ii. 37 ; Holmes, ii. 10.
4 For a fuller history of the picture, see an article in The Morning Post, May 23rd, 1912.
£ Woltmann, 318 ; Wornum, i. 8 ; Holmes, ii. 9.
HOLBEIN'S SELF-PORTRAITS 213
the various miniature portraits of himself, dated 1543, described in
the next chapter.1 The self-portrait in the Uffizi Gallery, Florence,2
which is evidently founded on one of them, or on one of the
small oil-paintings, now lost, has few pretensions, in the writer's
opinion, to be regarded as an original work, though it is, of course,
possible that beneath the brushwork of some later and inferior painter
there may be an original work by Holbein now practically obliterated.
It is only right, however, to point out that Dr. Ganz considers it to
be an original though damaged drawing, and other writers are in
agreement with him. It is in coloured crayons on a gold ground,
and the comparatively modern inscription with the date 1543 has been
painted over an earlier one, which can be still traced below. Dr. Ganz
suggests that it is probably one of the two portraits which Van Mander
saw in Amsterdam in 1604.
Of far greater interest is the recently discovered portrait, first pub-
lished in 1912 by Dr. Ganz,3 which he considers to be a genuine self-
portrait by Holbein, hitherto unknown. The likeness both to the
numerous miniatures and to the Uffizi portrait is so great that the
attribution is most certainly the correct one. It is in all ways much
more attractive than the last-named work, and has far greater vitality
and a more subtle expression of character. It is a drawing of the
head and shoulders only, turned slightly to the spectator's right, and
the painter is wearing a dark fur-lined cloak and black cap. Part of
the left hand only is shown. It is a coloured-crayon drawing touched
with water-colour, on white paper which has been covered with a
flesh-coloured ground. The paper has a Zurich water-mark, and was
only manufactured between 1536-1540, so that the date of the drawing
can be fixed with some accuracy, and was very probably done in Basel
during Holbein's short visit home in the autumn of 1538. It has,
unfortunately, suffered considerable damage, and here and there has
been touched up with Indian ink. On the top right-hand corner of
the blue background is inscribed, in a later hand, " H. H. 15 . . ." It
was purchased in England in the summer of 1910, and is now in Basel
in the collection of Dr. Rudolph Geigy-Schlumberger.4
1 See pp. 230-1. Also Vol. i. pp. 27-8.
2 Woltmann, 150. Reproduced by Ganz, Holbein, p. 134, and elsewhere.
3 Reproduced by Ganz, Holbein, p. 138.
4 See Ganz, Holbein, pp. xxxix. and 244. He suggests that this drawing is perhaps the
"ritratto d'homo aquazzo" of the Arundel inventory.
2i4 THE LAST YEARS
Several portraits by Holbein, which so far have not been traced,
were etched by Hollar when they were in the Arundel Collection, and
these prints, in the absence of the originals, form invaluable records
for the use of students. Some few of them, however, though Hollar
has placed Holbein's name on them, cannot have been painted by
him, as, for instance, the portrait of Thomas Chaloner,1 which is dated
1548. All the more important of them are reproduced by Dr. Ganz
in his Holbein (1912),2 and several have been already described in
these pages. Among those remaining there is one of an unknown
bearded man in a black cap,3 and two of unnamed boys.4 The second
of these boys, whose head is turned three-quarters to the left, appears,
from the details of the dress he is wearing, to be a Swiss. Holbein's
original silver-point study for the portrait from which the etching was
taken is in the Louvre, and is dated 1520. The connection between
the two was first pointed out by Dr. Ganz.5 The circular portrait of
Sir Anthony Denny is inscribed " anno 1541 .etatis sv^e 29." 6 The
original painting, a small roundel, descended, according to Mr. W.
Barclay Squire, to the Howards of Greystoke Castle, and is now in
the collection of Mr. J. Pierpont Morgan, junr. There is an old copy
of it at Longford Castle.7 The large print of an elderly, grey-bearded
man, with fur coat, and cap with a feather,8 is usually said to
represent Charles Brandon, Duke of Suffolk, but though it bears
considerable likeness to the authentic portraits of him, the attribu-
tion is doubtful. There are several portraits of English ladies among
Hollar's work. Of one, in which the sitter is turned to the right,
and is wearing a round head-dress surmounted by a flat black cap
with a large feather,9 there is no study known, but for two others,
which Hollar has reproduced as small roundels, the preliminary
drawings afe to be found in the Windsor Collection, one of them of
an unknown lady, full-face, wearing the angular head-dress,10 and
1 Parthey, 1371. 2 pp. 196-200. 3 Parthey, 1544.
4 Parthey, 1551 and 1543.
6 See Holbein, p. 250. The drawing reproduced by Ganz, Hdz. von H. H. devi Jiing., PI. 9 ;
and by Mantz, p. 34. c Parthey, 1387.
7 Reproduced in Magazine of Art, May 1897, p. 42 ; and in the catalogue of the collection of
the Earl of Radnor, W. Barclay Squire, 1909, No. 144. It is 4 in. in diameter, and is given to
Holbein in the catalogue. Engraved by C. Picart, 1817.
8 Parthey, 1554. 9 Parthey, 1550.
10 Parthey, 1549. Woltmann, 350 ; Wornum, ii. 38 ; Holmes, ii. 24.
DUKE OF BUCKINGHAM'S COLLECTION 215
the other the drawing inscribed " The Lady Mary after Queen." 1
The profile portrait of a lady, which has been considered by some
writers to represent Anne of Cleves,2 does not appear to be after
an original by Holbein, though Hollar has placed his name on it.
It is possible, though not very probable, that some of these
circular etchings were based on the drawings, and not on finished
pictures.
Holbein's practice during his last English period seems to have
been devoted almost entirely to portraiture, so that an entry in an
inventory of the Duke of Buckingham's pictures at York House, made
in 1635,3 is of exceptional interest, as it shows that he did occasionally
paint subjects other than portraits. It runs as follows : " Hans
Holbin. — Jupiter and Jo in Water Coulers." This picture, of which
all traces are lost, was hanging in the Vaulted Room. The Duke
possessed a number of other works by or attributed to Holbein, but
unfortunately the entries in the inventory are so tantalisingly vague
that it is impossible to gather much information about them, though
two of them seem to have been portraits of Steelyard merchants.
They included " Erasmus Rotterodamm after Holbin " ; "A Dutch-
man Sealing a Letter " (possibly the John of Antwerp now at Windsor) ; 4
" A Rare piece, being a Dutchman " ; "A Queen " ; "An other Lady " ;
" A little picture in Linnen " ; and " A little picture of Holbin himself,"
which was probably one of the miniatures. With the exception
of the last-named, all are described as by " Holbin " or " Hans
Holbin."
Another subject-picture by Holbein is mentioned by Evelyn in his
Diary, but so vaguely that it is impossible to guess what it could have
been. He says, under the date May 8, 1654 : "I also call'd at Mr.
Ducie's, who has indeede a rare collection of the best masters, and one
of the largest stories of H. Holbein." This, however, may have been
some picture similar to " The Battle of Spurs " at Hampton Court,
attributed to Holbein in Evelyn's day, and not a genuine work of the
master. His judgment was not always infallible, as he speaks of the
1 Parthey, 1465. For the drawing, see p. 258.
2 Parthey, 1545. See p. 182, note 4.
3 See Randall Davies, Burlington Magazine, vol. x., March 1907, pp. 376-82. Also Walpole,
Anecdotes, ed. Wornum, vol. i. p. 94.
4 See pp. 9-14.
216 THE " DANCING PICTURE"
well-known " Dancing Picture," x which he saw at the Duke of Norfolk's
at Weybridge (23rd August 1678) as " that incomparable painting of
Holbein's."
1 This picture was traditionally said to have been begun in France by Janet (Clouet), and
Vertue thought it might have been retouched by Holbein, "as it was probably painted for his
patron, the Duke of Norfolk, from whom it descended immediately to the Earl of Arundel, out of
whose collection the father of the present possessor (Colonel Sotheby) purchased it." (See
Walpole, Anecdotes, ed. Wornum, i. p. 95.) It was lent to the Tudor Exhibition, 1890, by
Major-Gen. F. E. Sotheby, No. 145. The only entry in the Arundel inventory which it is just
possible might refer to this picture is " Un quadretto con diverse figure Jocatori, etc.," which is
given to Holbein.
CHAPTER XXV
HOLBEIN AS A MINIATURE PAINTER
Early references to Holbein as a miniature painter — Receives instruction from Lucas Hornebolt —
Rareness of genuine miniatures by him— Sir Thomas More— Lord Abergavenny— Lady
Audley— Henry and Charles Brandon— Drawing in the British Museum of a lady and
children on a bench— Miniature of Mrs. Robert Pemberton — Unknown youth in the Queen of
Holland's Collection— Miniature paintings of Holbein himself— Thomas Cromwell— Anne of
Cleves— Jane Seymour— Edward VI— Livina Teerlinc— Miniatures of the Holbein school-
Miniature of an unknown man, possibly the painter Harry Maynert, at Munich.
HE old tradition that Holbein did not practise miniature
painting until after he had settled in England is prob-
ably true. Van Mander says that it was only at a
late period, after he had entered the King's service,
that he, who knew how to adapt himself almost to
everything, took up the art of miniature painting, in
which he had before done nothing. At that time he met at the
Court a very famous master in this art, named Master Lukas.
" With Lukas he kept up mutual acquaintance and intercourse,
and learned from him the art of miniature painting, which, since
then, he pursued to such an extent, that in a short time he as
far excelled Lukas in drawing, arrangement, understanding, and
execution, as the sun surpasses the moon in brightness." l Seventy
years later Sandrart repeated this statement, which he evidently
took from Van Mander's book. The Master Lukas in question
was undoubtedly Lucas Hornebolt, who was in the employment of
the King throughout the whole period of Holbein's residence in
England. So far, the only pictures extant which have been attributed
with some certainty to the studio of Lucas and Gerard Hornebolt are
the portraits of Henry VIII, of the type of the Warwick Castle portrait,
when that monarch was drawing towards the end of his life ; but the
sister, Susanna, wife of John Parker, Yeoman of the Robes, and one
of the King's bowmen, was well known in her day as an excellent
1 Quoted by Woltmann from Van Mander, i. p. 407 ; English translation, p. 370.
217
2i 8 HOLBEIN AS A MINIATURE PAINTER
miniaturist, while Guicciardini speaks of Lucas as not only a very
great painter, but as exceptionally good in the art of illuminating, so
that it is extremely probable that a number of the miniatures still in
existence, representing Henry, his wives, and members of his Court,
which though very excellent, have not the brilliance of execution and
the unfailing insight into character which mark the few genuine
miniatures by Holbein, were the work of the members of this family.
Guicciardini published his book only twenty-four years after Holbein's
death, so that his account of the position they occupied at Henry's
court, and the estimation in which they were held in England, borne
out as it is by the royal accounts, is evidently an accurate one.
Further confirmation of the fact that Holbein was famous for his
skill in miniature painting during his residence in England is to be
found in a manuscript " Treatise concerning the Arte of Limning,"
which was written, at the request of Richard Haydock, by Nicholas
Hilliard, the first and one of the finest of English native-born minia-
ture painters, who was born in all probability in 1537, and so was a
boy of six when Holbein died, and based his art on Holbein's own
practice. This treatise, which was first published in its entirety by
Dr. Philip Norman in the first annual volume of the Walpole Society,
1911-12, from the original manuscript in the Edinburgh University
Library, was probably written by Hilliard between 1598-1602. The
manuscript, which is not in the miniaturist's own hand, is dated
18th March 1624. In it Hilliard extols " King Henry the eight a
Prince of exquisit jugment and Royall bounty, soe that of cuning
stranger even the best resorted unto him, and removed from other
courts to his. Amongst whom came the most excelent Painter and
limner Master Haunce Holbean the greatest Master Truly in both
thosse arts after the liffe that ever was, so Cuning in both together and the
neatest ; and therewithall a good inventor, soe compleat for all three,
as I never heard of any better then hee. Yet had the King in wages for
limning Divers others, but Holbean's maner of limning I have ever
imitated and howld it for the best, by Reason that of truth all the rare
Siences especially the arts of Carving, Painting, Goudsmiths, Im-
broderers, together with the most of all the liberall Siences came first
unto us from the strangers, and generally they are the best and most
in number. I heard Kinsard [Ronsard ?] the great French poet on a
time say, that the Hands indeed seldome bring forth any Cunning man,
"MINIATURA, OR ART OF LIMNING" 219
but when they Doe it is in high perfection ; so then I hope there maie
come out of this ower land such a one, this being the greatest and
most famous Hand of Europe." '
Still further proof of Holbein's fame as a limner or miniature
painter is to be found in a manuscript written by Edward Norgate,
called " Miniatura or the Art of Limning," now among the Rawlinson
MSS. in the Bodleian Library, dedicated to Henry Frederick, Earl of
Arundel. Other versions of this treatise on the " Art of Limning "
are in the British Museum (Harl. MSS., No. 6000); in the possession
of the Royal Society, which came from the Arundel Collection; and
elsewhere. Norgate based a considerable part of his treatise on the
earlier one by Hilliard. " The incomparable H. Holbein," he says,
" who, in all his different and various methods of painting, either in
oyle, distempre, lymning or crayon, was, it seems, so general an
artist as never to imitate any man, nor ever was worthily imitated
by any." 2
Van Mander is, no doubt, correct in saying that Holbein received
instruction in the art of miniature painting from Lucas Hornebolt,
and that he had not practised it until he came to England ; though
Hornebolt had nothing to teach him but the practical use of a medium
in which, as applied to portraiture, he had until then had very little
experience. There is no evidence to show that he produced true
miniatures while in Basel, though there is one attributed to him in the
collection of the late Mr. J. Pierpont Morgan, a portrait of a Baseler,
a certain Arnold Franz, described below, which affords possible proof
that he did so. Such an isolated example as this, however, may have
been painted during one of his later visits to Basel, or it may represent
one of the members of the German colony in London. Several of his
small circular oil paintings, almost the size of the true miniature, have
been described in earlier chapters,3 so that he was already skilled in
working on a small scale, and within it of producing a life-like portrait,
of the utmost delicacy and truth to nature, while his extraordinary
1 Quoted by Holmes, Burlington Magazine, vol. viii., January 1906, p. 229. See also Walpole
Society, vol. i., 19 12, pp. 18-19.
2 Quoted by Dallaway in his notes to Walpole, Anecdotes, &c, ed. Wornum, vol. i. pp. 11 1-2.
For a full account of Hilliard's treatise, and the various versions of Norgate's work, see Dr.
Philip Norman in the Walpole Society's publication, mentioned above ; also Mr. Martin Hardie
in vol. ii. of Dr. G. C. Williamson's History of Portrait Miniatures, 1904.
3 See Vol. i. pp. 180, 184-5 ; Vol. ii. pp. 14, 20, 70-1.
220 HOLBEIN AS A MINIATURE PAINTER
skill and precision in rendering with most minute yet masterly touches
of the brush all the details of the sitter's costume, jewellery, and
accessories, must have left him little to learn when he began to work
in the new medium. It is evident that he soon set up a standard of
excellence in this field which both his contemporaries and the minia-
turists who came after him did their best to reach.
His miniatures are now of the greatest rarity, though there are
many in various English collections which still wrongfully bear his
name, given to them in less critical days, when every portrait, great
and small, dating from Tudor times, was ascribed to him. In certain
of these, very possibly Holbein's original handiwork has been buried
beneath repairs and repaints by later and less skilful hands. No
doubt a number of others have been lost, for so delicate and small an
object of art as a miniature is soon damaged or mislaid ; though
against this must be set the fact that many of them were kept in
specially-made ivory boxes, and so would not easily suffer destruction.
The number of them which, from the perfection of their execution,
can be said with some approach to certainty to be from his brush,
can be counted almost on the fingers of one's hands. These include
the portraits of Mrs. Pemberton ; the two sons of the Duke of Suffolk,
Henry and Charles Brandon ; Lady Audley ; Queen Catherine Howard ;
Sir Thomas More ; the portrait of an unknown youth in the Queen of
Holland's collection ; several of the painter himself, done in the last
year of his life, and two or three others. After these come several
which, though less perfect in draughtsmanship, have serious claims
to be considered as his work, and after these, again, there are those
fairly numerous examples which, though of good execution and of
real interest and value, have no pretensions to rank as works of
the great master. Some of these have been attributed tentatively
to such painters as the Hornebolts, Livina Teerlinc, Stretes, or
Bettes, though modern criticism has not succeeded as yet in dis-
entangling the works of these little masters the one from the other,
so that the various attributions are at present more or less mere
guesswork.
The beautiful miniature of Sir Thomas More, rediscovered by
Dr. Williamson when in the Godolphin-Quicke Collection, and first
published by him in his History of Portrait Miniatures, which is in the
late Mr. J. Pierpont Morgan's collection, has been already described when
MINIATURES OF SIR THOMAS MORE 221
speaking of the portraits of Sir Thomas.1 A second miniature of More,
in the collection of the Duke of Buccleuch at Montagu House, was
first reproduced by Mr. Dudley Heath in The Connoisseur." 2 This,
though based, like the Pierpont Morgan miniature, on the Huth
portrait, shows some differences from both. It is smaller than the
other miniature, and the sitter appears to be some years older. The
eyes are more downcast and the head slightly bent, while the scanty
beard is whiter. In other respects the dress, consisting of black cap
and furred gown, and collar of SS with the Tudor rose, is the same.
Another interesting point about it is that it is painted, not in water-
colours, but in oil on a gesso ground, upon a metal plaque which
appears to be silver. It has, unfortunately, suffered to some extent
in the course of time, and has been retouched here and there, but it is
a fine example, very possibly by Holbein, showing, according to Mr.
Heath, " that vivid realism, yet reserve of expression, that sensitive
modulation of the tones and contours, that insistent yet flexible drawing
of the features, which constitute the sign-manual of the great portrait
painter." Nothing seems to be known of the history of this miniature,
which was exhibited at South Kensington in 1862 (No. 2061), in the
Royal Academy Winter Exhibition in 1879 (Case L, 4), and at the
Burlington Fine Arts Club in 1909 (Case C, 17). These miniatures
of More would seem to suggest that Holbein's earlier biographers
were wrong in stating that he did not begin to practise in this branch
of art until after he had entered Henry VIIFs service. It has been
generally supposed that when he returned to England a second time
he saw little or nothing of the Chancellor, and if that is so, these
miniatures must have been painted between 1526 and 1528, when he
was at work on the big group of his first English patron's family.
At that time, however, Holbein had no official connection with the
court, and was possibly not yet on terms of intimacy with the Horne-
bolts, so that it seems more probable that any miniatures of More
from his hand were done between 1532, the date of Holbein's return
to London, and 1534, when the ex-Chancellor was imprisoned in the
Tower. Another possible solution is that they were painted after
More's death for friends or relations who desired a memorial of him,
1 See Vol. i. pp. 306-7
2 The Connoisseur, vol. xviii. No. 71, July 1907, frontispiece (in colour.) Also reproduced in
Burlington Fine Arts Club Exhibition Catalogue, PI. xxxiii.
222 HOLBEIN AS A MINIATURE PAINTER
and were done from the oil painting or from the preliminary draw-
ings still in the painter's possession.
Another miniature from the Montagu House Collection was also
reproduced for the first time by Mr. Dudley Heath in the same
article,1 and was lent by the Duke of Buccleuch to the Burlington
Fine Arts Club Exhibition (Case C, 22). It represents George Nevill,
third Lord Abergavenny, and, as already noted,2 is founded on the fine
drawing in the collection of the Earl of Pembroke, for so long con-
sidered to be a portrait of Thomas Cromwell. The face, which is that
of an old man, is turned three-quarters to the spectator's right, and
is clean shaven. His white hair is almost covered by the black cap,
on which is a gold jewel with three pendant pearls. He wears a black
fur-lined gown over a black doublet open at the throat, showing his
white shirt. On the left-hand side of the bright-blue background is
inscribed " G. Abergaveny." It is painted, like nearly all miniatures
of the period, on a playing card, and is if in. in diameter. It
was purchased by its present owner, with some other miniatures, at
the Earl of Westmorland's sale at Apethorpe Hall, Northamptonshire,
in 1892. It is in a perfect state of preservation, full of vitality, and
excellent in modelling, and has considerable claims to be regarded as
an original. The pale, high tones of the flesh colour are in marked
contrast to the lower tones of the oil miniature of Sir Thomas More
in the same collection.
The two almost similar miniatures of Catherine Howard, at
Windsor Castle (PI. 31 (4)) and Montagu House, have been already
described ; 3 both are beautiful examples, and each one is almost
certainly from Holbein's own hand, though the former has suffered
from restoration. In the royal collection at Windsor there are three
other miniatures which also can be given to him without any hesita-
tion, all three being masterpieces of the art of the limner ; these are
the portraits of Lady Audley and the two Brandon boys. The
miniature of Lady Audley (PI. 31 (3)),4 is of extraordinary delicacy in
handling and colour, and bears the stamp of Holbein in every minute
1 The Connoisseur, vol. xviii., July 1907, frontispiece (in colour). Also reproduced in Burlington
Fine Arts Club Exhibition Catalogue, PI. xxxiii.
2 See p. 62. 3 See pp. 192-3.
4 Woltmann, 270. Reproduced by Law, PI. vii. ; Williamson, History of Portrait Miniatures,
PI. ii. fig. 3; Ganz, Holbein, p. 149 (3). Painted at about the same time as the "Catherine
Howard."
1 I 3TA.I' 1 , I 1
i .1
5 -f.
In the Huldschinsky sale, Cassirer Galleries
UO,, HEAD OF A YOUNG GIRL BY HOLBEIN AJ aHT
Vol. II., Plate 31
R
1. HENRY BRANDON
3. LADY AUDLEY
MINIATURES
2. CHARLES BRANDON
4. QUEEN CATHERINE HOWARD
Windsor Castle
5. PORTRAIT OF AN UNKNOWN YOUTH
Queen of Holland's Collection
6. THOMAS CROMWELL
The Late Mr. J. Pif.rpont Morgan's Collection
MINIATURE OF LADY AUDLEY 223
and unerring touch. As Mr. Law says, " there was no other artist at
the court of Henry VIII, or indeed in Northern Europe, who could have
produced so exquisite a work of art."1 She is shown to the waist,
turned to the right, with hands folded in front of her. Her richly-
brocaded dress is of pale crimson, with under-sleeves of dark grey
and white ruffles, and she wears a French hood trimmed with pearls,
and a black fall over her fair hair. Her double necklace is of almost
the same pattern as the one worn by Catherine Howard. There is
no inscription on the plain, deep blue background. It is 2 J in. in
diameter, and is painted on the back of the two of hearts. The identity
of the sitter is placed beyond doubt by the fine drawing, inscribed
" The Lady Audley," in the Windsor Collection (PL 37 (i)),2 in which
the position and features of the sitter, the costume and ornaments, are
almost exactly the same, while the colour of the dress in the miniature
agrees with the note in Holbein's handwriting on the drawing — " damast
rot." This drawing is one of the finest and most delicate among the
heads of women in the Windsor Collection — a long, handsome face, with
pointed chin and sharp nose, and very expressive eyes. Holbein has
carefully indicated the details of the ornaments she is wearing. Her
necklace is of elaborate workmanship, apparently a band of alternate
links of enamel and pearls arranged as flowers, with a large pendant with
inset facetted jewels and three hanging pearls. At her breast is a large
circular ornament of a somewhat similar design. The oil painting for
which the preliminary study was made, and from which the miniature
was possibly taken, is now lost. Elizabeth, Lady Audley, was the
eldest daughter of one who must have been in constant touch with
Holbein — Sir Bryan Tuke, the Treasurer of the Chamber, whose
portrait by him has been already described, and from whose hands
he received his salary. She married John Touchet, ninth Lord Audley.
The portraits of the two young sons of the Duke of Suffolk, Henry
and Charles Brandon, are acknowledged on all sides to be among the
very finest of Holbein's miniatures. Dr. Woltmann, indeed, con-
sidered the one of the elder brother to be the best which ever came
from his brush. It is, he says, " the most beautiful miniature paint-
ing by Holbein that is known to us, and exhibits more strikingly than
1 Law, Holbeirts Portraits at Windsor Castle, p. 25.
8 Woltmann, 342; Wornum, ii. 31; Holmes, ii. 27. Reproduced by Davies, p. 220; and
elsewhere.
224 HOLBEIN AS A MINIATURE PAINTER
any other his artistic style and his spirited and perfect mode of exe-
cution, true in spite of all its delicacy." * This is certainly by no means
too high praise, for both miniatures are delightful renderings of child-
hood, drawn with all Holbein's keen perception, and faultless in their
precision of line and delightfulness of colouring. The elder boy, Henry
(PI. 31 (i)),2 aged five, is shown to the waist, full-face, leaning with
his left arm on a table at his side, his head slightly bent in the same
direction. He is wearing a black velvet dress with green under-
sleeves, and a black hat with a white feather. His fair hair is cut
straight across his forehead, and there is a rather sad look in his eyes.
On the ledge of the table is inscribed, " etatis sve 5 6 sepdem," and
below, on the table-leg, " anno " and the date, which has been variously
read by different writers. The younger brother, Charles (PL 31 (2)),3
aged three, is also seen to the waist and full-face. His dress is a
bluish grey braided in red, and with black cuffs. His flat black cap has
no feather ; his hair, like his brother's, is very fair, and his blue eyes
look straight at the spectator. There is a strong likeness between the
two. He holds in front of him a paper with the inscription " ANN
1541 etatis sv^e 3 10 marci." Both miniatures are painted on a
playing card, 2 in. in diameter, and in each the background is the
usual bright blue. Their pedigree in the royal collection can be traced
back as far as Charles I, in whose catalogue they appear as : ' Done
by Hans Holbein. Given to the King by Sir H. Vane. No. 64.
Item. Done upon the wrong light. Upon a round card, one of the
Duke of Brandon's children, being in a purple habit laced with red
velvet lace, with both his hands before him. 2 inches." " No. 65.
Item. Another fellow piece of the same Duke of Brandon's children,
in a black cap and habit with green sleeves, leaning with his left arm
upon the table, bending his breast towards his left shoulder, on the
table written his age, and the year of our Lord, done upon the wrong
light." They appear again in James II's catalogue, No. 646, as :
" Two heads in one frame, in limning, being the sons of Charles Brandon,
Duke of Suffolk. By Holbein."
The boys were the sons of Charles Brandon, first Duke of Suffolk,
1 Woltmann, English translation, p. 371.
2 Woltmann, 268. Reproduced by Law, PI. vii. ; Knackfuss, fig. 124; Williamson, PI. ii.
fig. 5 ; Ganz, Holbein, p. 149 (2).
3 Woltmann, 269. Reproduced by Law, PI. vii. ; Knackfuss, fig. 135 ; Williamson, PI. ii.
fig. 7 ; Ganz, Holbein, p. 149 (1).
HENRY AND CHARLES BRANDON 225
who became brother-in-law of the King by his secret marriage in Paris
on May 13, 1513, with the young Queen Dowager of France, widow of
Louis XII ; and their mother, Suffolk's fourth wife, was Catherine,
only daughter and heiress of William, tenth Lord Willoughby de
Eresby. The year date on the elder boy's portrait has been usually
read as 1535. It is so given by Wornum and Woltmann, and other
writers have followed them, but if the portrait represents Henry
Brandon, the date is quite impossible. Mary Tudor, the " French
Queen," the Duke of Suffolk's third wife, died on June 25, 1533,
and in September of the same year Brandon married Catherine Wil-
loughby, the mother of these two boys. In Burke, on the other hand,
it is stated that the marriage took place in 1535 ; but this appears
to be incorrect. The Dictionary of National Biography gives the date
of the elder boy's birth as September 18, 1535, which date is fixed
by the inquisitio post mortem held after his father's death in 1545 ;
so that it is quite impossible that the lad could have been five years
old in 1535. Mr. Ernest Law reads the date on the miniature as
possibly 1539 ; to the writer, however, who has not had the privilege
of examining the original, it appears, from careful examination of the
excellent reproduction in Mr. Law's book, to be either 1543 or 1545,
the third figure being plainly a 4. Neither of these dates, however,
can be correct, and it is quite possible that at some time the inscrip-
tion, growing illegible, has been repainted, and that in so doing the
restorer has made a mistake. The lettering on both miniatures lacks
the precision of an original inscription by Holbein. It is generally
assumed that the two dates, " 6 Sep " and " 10 Marci," refer to the
boys' birthdays, and there is no difficulty with regard to the second
boy, Charles, who was born in March 1538, two and a half years after
his brother. The two miniatures have every appearance of having
been painted at about the same time, and it is to be expected that
the elder of the two would be painted first. The writer suggests,
therefore, that the correct date of the portrait of Henry is September
1540, and that of Charles, March 1541.
The two boys were very carefully brought up in the Protestant
faith by their mother. Martin Bucer, the German reformer, was
appointed their tutor, and they were afterwards in the charge of
Thomas Wilson, who became Secretary of State to Queen Elizabeth.
At a later period Henry was sent to Sir John Cheke, and was educated
VOL. 11. p
226 HOLBEIN AS A MINIATURE PAINTER
with Prince Edward, and finally entered St. John's College, Cambridge,
where his brother afterwards followed him. While there the two
boys contracted that scourge of the sixteenth century, the sweating
sickness. On the occasion of the outbreak they were hastily removed
for safety to the Bishop of Lincoln's palace at Brickdon, in Hunting-
donshire, but too late, for both developed the disease, and died to-
gether in one bed, on the same day, July n, 1551, the younger
within less than an hour of the elder. Their death at so early an age
made an extraordinary impression at the time, and a pamphlet on the
subject was published by their tutor, Dr. Walter Haddon. Peter
Martyr said of Henry that, with the exception of Edward VI, he was
the most promising youth of his day.
There is a very beautiful drawing of the boys' mother in the Windsor
Collection,1 a head turned three-quarters to the left, wearing the
English angular head-dress with a band of pearls, and a second orna-
mented band of which part of the pattern has been drawn in detail
by Holbein. The collar is elaborately braided with black velvet, and
a medallion is indicated at the breast. The brown eyes and the hair
have been put in with water-colour. The portrait for which it
was the original study has not been traced. There is a replica of this
head in the British Museum (No. 10), 2 which was formerly in the
Robinson and Malcolm collections. In this connection, too, a second
drawing in the British Museum may be cited, which represents a
woman and children sitting on a bench (No. 8) (PI. 32). 3 It is in
Indian ink on paper, 5 J in. X4J in., and comes from the Cosway and
Utterson collections. It has been reproduced by the Vasari Society,4
with a note by Mr. Campbell Dodgson, and by Dr. Paul Ganz.5 Mr.
Dodgson suggests that the scene represented is the interior of a church.
An effect of warm sunshine is skilfully suggested by the light which
falls from a window, not seen, on the right. The mother or nurse is
seated in the centre of the group, on a high-backed bench with panel-
ling of the Tudor " linen " pattern, a baby in long clothes held on her
lap. On her right a boy with a flat cap and feather, and puffed sleeves,
is seated, his left elbow resting on the arm of the bench. A little girl
stands in front of her, looking up, and on the left a younger boy,
1 Woltmann, 334 ; Wornum, ii. 21; Holmes, i. 26. Reproduced by Knackfuss, fig. 140; and
Ganz, Hdz. von H. H. demjiing., PI. 34.
2 Woltmann, 210. 3 Woltmann, 189. * 1905-6, No. 18.
6 Hdz. von H, H. dem Jung., PI. 35.
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DRAWING OF A FAMILY GROUP 227
dressed like his brother, is standing, the whole making a group of the
greatest charm. It is described in the British Museum Catalogue as
an admirable example of Holbein's earlier Basel period, but it is evi-
dently of later date, and the costumes are undoubtedly English. It
has been recently suggested by Mr. Peartree that the woman is " Mother
Jack," nurse to Prince Edward.1 In features and costume she bears
considerable likeness to the unnamed drawing in the Windsor Collec-
tion,2 which is supposed to be a portrait of that nurse. If this sup-
position be correct, the baby would be the Prince of Wales, and the
date of the drawing about 1537 ; but this fails to account for the
three other children. Dr. Ganz considers it to be a group of members
of the Brandon family,3 and as far as the two boys are concerned, this
suggestion has something in its favour. The lad on the right is by
no means unlike Henry Brandon. The position of the head and the
left arm are exactly the same as in the miniature, and the dress has
many points of resemblance. The second boy, too, has some likeness
to Charles, though he does not wear the velvet-braided costume of
the miniature. Again, however, there is a stumbling-block to this
theory in the presence of the two younger children, for the Duke's
family by his fourth wife consisted of the two boys only. By his
second marriage with Anne, daughter of Sir Anthony Browne, he
had two daughters, Anne, afterwards Lady Powys, and Mary, after-
wards Lady Monteagle, and by his third wife, the King's sister, he had
two other daughters, Frances, afterwards Countess of Dorset, and
Eleanor, afterwards Countess of Cumberland, but these ladies were
all too old for one of them to have been the little girl represented in
the drawing. Owing, no doubt, to the wrong date on the miniature
of Henry Brandon, Dr. Ganz ascribes this drawing to the year 1535,
and sees signs in the elder boy's face of approaching illness, although
no such illness is recorded until the sudden one in 1551, when he was
nearly sixteen. Both explanations are ingenious, but neither is
entirely satisfactory. On the margin of the drawing, in a later hand,
is written — " exaltate Cedrus. H. Holbein," which, apparently, is
a reference to Ecclesiasticus xxiv. 17, " Quasi cedrus exaltata sum in
Libano."
1 Vasari Society, Pt. i. No. 18 (1905-6), note by Mr. Campbell Dodgson.
2 Woltmann, 353 ; Wornum, ii. 14; Holmes, i. 10. Reproduced in Drawings by Hans
Holbein (Newnes), PI. xxvi.
3 Ganz, Hdz. von H. H dem Jung., p. 56.
228 HOLBEIN AS A MINIATURE PAINTER
The utmost perfection in miniature painting is to be found in the
portrait of Mrs. Robert Pemberton (PL 33 (i)),1 in the late Mr. J. Pierpont
Morgan's collection (No. iv.), which bears in every touch the unap-
proachable skill and rare individuality of the artist. It was formerly in
the collection of Mr. C. Heywood Hawkins, and at his sale on May 15,
1904, realised £2750, afterwards passing into the possession of Mr.
Morgan, by whose courtesy it is reproduced in this book. In the
Hawkins sale catalogue it was described as the portrait of Frances
Howard, Duchess of Norfolk, but without authority, for there was
no Duchess of Norfolk of that name in Holbein's time. When ex-
hibited by Mr. Hawkins at South Kensington in 1865, it was described
in the catalogue as merely — " Portrait of a Lady, Anno Aetatis Suae
23. Her coat of arms is affixed to the case." This coat, described
by Sir Richard Holmes in the Burlington Magazine,2 in a note accom-
panying a reproduction of the portrait, is dated mdlvi, and in style
and painting is about a century later than the miniature. These
arms, as Sir Richard first pointed out, are those of the Pemberton
family. Further researches, undertaken by Dr. Williamson, and em-
bodied in his catalogue of Mr. Pierpont Morgan's Miniatures, prove,
almost without doubt, that the lady represented was Mrs. Robert
Pemberton. He says : " The arms of the wy veins' heads which are
quartered with those of Pemberton belong to the family of Jago di
Lago, gentleman, of Newcastle-under-Lyme, Staffordshire ; and
Robert Pemberton, of Rushden, Northants, M.P. for Northampton
in 1478, married Alice, daughter and co-heir of this Jago di Lago.
. . . Major-General R. C. B. Pemberton, to whom I am indebted for
these interesting references, is of opinion that the lady in the miniature
is Margaret, daughter of Richard Throgmorton, of Higham Park, co.
Northants, who was buried at Rushden, 27th October 1576. She
married Robert Pemberton, of Pemberton, co. Lanes., and of Rushden,
eldest son of William Pemberton, of the same places, and he died in
September 1594. The arms would be those of this Robert Pemberton,
whose grandfather certainly bore them." 3
In this very beautiful little masterpiece the lady is shown three-
1 Reproduced in Mr. Morgan's Catalogue, PI. iv., No. 2, and in colour in Edition de luxe,
No. 4 ; Burlington Magazine, vol. v., July 1904, frontispiece ; Portrait Miniatures {Studio
Spring No.), 1910, PI. i. ; Burlington Fine Arts Club Exhibitio?i Catalogue, 1909, PI. xxxii. ;
Ganz, Holbein, p. 148 (3) ; Connoisseur, Dec. 1906.
2 Burlington Magazine, vol. v., July 1904, p. 337.
3 Williamson, Mr. J. Pierpont Morgan's Catalogue, p. 9.
mA
Wl
l/ie J/otmaew-
lf-portrait by Hans Holbein at right, repro-
sxact size, is worth something like $5,000 a
inch. Reputedly held for more than $100,-
was recently sold for an unrevealed sum by
.. Silberman of New York to Dr. G. H. A.
: of Indianapolis. The artist painted it on a
in 1542 in London to send to his family in
rland. A year later he died of the plague.
228 HOLBEIN AS A MINIATURE PAINTER
Northants, who was buried at Rushden, 27th October 1576. She
married Robert Pemberton, of Pemberton, co. Lanes., and of Rushden,
eldest son of William Pemberton, of the same places, and he died in
September 1594. The arms would be those of this Robert Pemberton,
whose grandfather certainly bore them." 3
In this very beautiful little masterpiece the lady is shown three-
1 Reproduced in Mr. Morgan's Catalogue, PI. iv., No. 2, and in colour in Edition de luxe,
No. 4 ; Burlington Magazine, vol. v., July 1904, frontispiece ; Portrait Miniatures {Studio
Spring No.), 1910, PI. i. ; Burlington Fine Arts Club Exhibition Catalogue, 1909, PI. xxxii. ;
Ganz, Holbein, p. 148 (3) ; Connoisseur, Dec. 1906.
2 Burlington Magazine, vol. v., July 1904, p. 337.
3 Williamson, Mr. J. Pierpont Morgan's Catalogue, p. 9.
H aiAj'I C.II
mm
HOIT3
IHT
Vol. II., Plate 33
MINIATURES
MRS. PEMBERTON
The Late Mr. J. Pierpont Morgan's Collection
PORTRAIT OF HOLBEIN BY HIMSELF
Wallace Collection
Portrait of Edward VI (as a boy of six)
Hans Holbein The Younger
In the Lord Lee Collection
MINIATURE OF AN UNKNOWN YOUTH 229
quarters face to the right, wearing a black velvet bodice and small white
linen cape, and a lawn collar and cuffs, embroidered with a geometrical
design in black. She has a red carnation fastened in her dress, and
round her neck a thin black cord with gold filigree ends, and holds a
single green leaf in her crossed hands. Her hair, which is parted in the
centre, is almost concealed beneath her white linen cap. The back-
ground is, as usual, blue, and across it, in gold letters, runs the in-
scription, " anno etatis sv,e 23." It is painted on the back of a
playing card, and is still in its original frame, decorated with white
and black enamel and three pearls.
The miniature in the Queen of Holland's collection (PL 31 (5))
equals, if it does not surpass, in the brilliance and delicacy of its execu-
tion and in the subtlety of its characterisation, the portrait of Mrs.
Pemberton ; in some ways, indeed, it is the most perfect example of
Holbein's mastery of this branch of art which remains. Its discovery
was due to Sir Richard Holmes, who, in 1903, first attributed it to
Holbein, in a communication to the Burlington Magazine,1 accompanied
by a reproduction of the miniature. It forms one of a collection of
some four hundred, of which about fifty are of English origin, in the royal
collections of Holland at the Hague. It represents a youth of about
fifteen or sixteen, who so far has not been identified. The head and
shoulders only are shown, turned three-quarters to the spectator's
right, the eyes cast down. The hair is cut close, and the dress is
a brown doublet trimmed with black, with a small open, falling collar
with white strings attached. There is no inscription on the back-
ground. With the exception of slight discoloration of the collar
through the oxidization of the pigment, this miniature is in faultless
condition. " Its extraordinary power and beauty," says Sir Richard,
" were manifest at first sight, and a close examination has convinced
me that it can be attributed only to Holbein, of whose work in this
branch of portraiture I have long been a student, as well as of his
crayon drawings. It has all the restraint of power so characteristic
of him, and the exquisite delicacy of line combined with firmness and
precision, which never united in the same degree in any master with
whose work I am acquainted."2 The same writer suggested that it
is possibly the portrait of a member of the family of one of the German
merchants of the Steelyard. The facial characteristics, however,
1 Burlington Magazine, vol. i., April 1903, p. 218, and frontispiece; Ganz, Holbein, p. 147 (2).
2 Burlington Magazine, vol. i., April 1903, p. 218.
230 HOLBEIN AS A MINIATURE PAINTER
appear to be more English than German, and it most probably re-
presents the son of some personage about Henry's court. It was
exhibited at the Exhibition of Miniatures in Rotterdam in 1910, and
again at Brussels in 1912 (No. 846). Another fine miniature in the
Queen of Holland's collection, the portrait of an unknown man in
black (Brussels Exhibition, No. 847), was first pointed out by Dr.
Williamson in his History of Portrait Miniatures as very probably the
work of Holbein ; and since its exhibition at Brussels in 1912 the
attribution has been accepted by some of the leading Dutch critics.1
A fine miniature portrait of the artist himself, painted in the last
year of his life, is in the possession of the Duke of Buccleuch,2 and was
exhibited at the Royal Academy Winter Exhibition, 1879 (Case F, 25),
and at the Burlington Fine Arts Club in 1909 (Case C, 23). It is a
bust portrait, turned three-quarters to the left, the head facing the
spectator. He is represented in the act of painting, the left hand
supporting the right, and is dressed in a plain black costume with white
pleated collar and cuffs, and a round black skull-cap. He has dark
hair and a closely-cut beard. Across the blue background is inscribed,
" h.h. an. 1543. iETATis sv^s 45." It was formerly in the collection
of Horace Walpole, and at the Strawberry Hill sale in 1842 was pur-
chased by Mr. W. Blamire, and when the latter 's collection was dis-
posed of in 1863 it passed into the possession of the Duke of Buccleuch.
It is one of the best of several similar miniatures, and is very fine in
execution, and has been usually ascribed to Holbein himself. The
best of all is in the Wallace Collection (Case B, 93) (PL 33 (2)),3 and
appears to be from the painter's own hand. A number of copies are to
be found in various collections ; one of them, in the Mayer van den Bergh
Collection, Antwerp, is reproduced by Dr. Ganz.4 Woltmann considered
that the Montagu House portrait was " scarcely the original, but an
old and contemporaneous copy," 5 but it is too excellent in execution
to be the work of a mere copyist. There is a second and larger version
in the Buccleuch Collection, with the same date, 1543, also attributed
1 See Hist. Portrait Miniatures, vol. i. p. 1 1, and PI. iii. I.
2 Woltmann, 371 (9). Reproduced in Barli7igton Fine Arts Club Exhibition Catalogue,
PI. xxxiii. ; Williamson, Hist. Portrait Miniatures, PI. ii. 4.
3 Reproduced by A. F. Pollard, Henry VI II, p. 125 ; Ganz, Holbein, p. 150 (2) ; Williamson,
Hist. Portrait Miniatures, PI. iii. 3. According to the new edition of the Catalogue of the
Wallace Collection there is engraved on the back of the case, " Hans Holbens — given to Me by
Lord Bolingbroke, 1757."
4 Holbein, p. 227 (4). 5 Woltmann, i. p. 477. English translation, p. 450.
HOLBEIN'S MINIATURES OF HIMSELF 231
to Holbein. The first-named example may possibly be the small round
mentioned by Van Mander as being in Amsterdam in his day. Lucas
Vorsterman's circular engraving was evidently based on this miniature
or the somewhat larger portrait now lost,1 of which the exceedingly
poor likeness of the painter in the Uffizi Gallery gives but a feeble echo.
The print follows the miniature closely, but is reversed, so that Holbein
is represented as painting with his left hand. Hollar's engraving,
dated 1647, in which the painter's left hand is omitted, was taken,
according to the inscription, from an original in the collection of the
Earl of Arundel, though Wornum was of opinion that it was based
upon Vorsterman's version. Both are described in an earlier chapter.2
The inscription across the background in Hollar's print — " hh. m 45.
an0 1543 " — agrees with the second miniature in the Buccleuch Col-
lection. Van Mander states that Holbein painted with his left hand,
and in this Sandrart and Patin follow him, but that this was a legend
is proved by the original miniature in which the artist has represented
himself holding his brush. Vorsterman's engraving, which appears
to bear out Van Mander's statement, through his failure to reverse
his drawing on the wood block, if not the original source of the error,
may have helped to spread it. Sir George Scharf, however, suggested
another cause as the source of this tradition. " Most of the portraits
of Henry VIII," he says, " more especially those attributed to Hol-
bein, have the light coming in from the spectator's right, a circum-
stance which may have tended, in some degree, to establish the tradition
that Holbein was left-handed. These are specified by Van der Dort
as done upon the wrong light." 3
The discovery of another miniature by Holbein was made by
Dr. G. C. Williamson in 1911,4 and is one of exceptional interest, as
it is an undoubted likeness of Thomas Cromwell, Earl of Essex, K.G.
(PI. 31 (6)). It came from a private source, and is now in the late Mr.
Pierpont Morgan's collection. It was fully described, and compared
with other portraits of Cromwell, by Mr. Lionel Cust in the
Burlington Magazine.5 He is represented in a black cloak with fur
1 See Vol. i. pp. 27-8, and Vol. ii. p. 213. 2 See Vol. i. pp. 27-8.
3 Old London, 1867, p. 320. * Communicated by him to The Times, 25th May 191 1.
5 "A Newly-discovered Miniature of Thomas Cromwell," vol. xx., October 191 1, pp. 5, 6.
The miniature reproduced p. 7 (1). Since the date of this article Dr. Williamson has traced back
the history of this miniature to a member of the Cromwell family who settled and died near
Munich.
232 HOLBEIN AS A MINIATURE PAINTER
collar, black cloth cap, and wearing the chain of the Garter with
the pendant George. The background is blue. It is about two
inches in diameter, painted on vellum or chicken-skin, pasted on
card. " It is encased," says Mr. Cust, " in an ivory box, carved on
the back with a rose and other ornaments, similar to, though in no
way so fine or so rich as, the ivory box which contains the miniature
portrait of Anne of Cleves, lately bequeathed to the nation by Mr.
George Salting, and now in the Victoria and Albert Museum. In the
case, however, of Mr. Morgan's portrait of Cromwell, the lower half
of the box has been separated from the lid, cut down, and set in a gold
frame, which is ornamented by a series of small deformed pearls.
This gold framework is the work of a highly-efficient goldsmith, but
hardly seems to date from the days of Henry VIII." As Cromwell
is shown wearing the Garter chain and badge, of which order he was
made a knight in August 1537, the miniature was no doubt painted
at some date between August and December in that year, to com-
memorate his election. In this connection it is of interest to note that
in Cromwell's accounts, preserved in the Record Office, there is an entry
under 4th January 1538 : " Hanns the painter, 40s." x This pay-
ment would suggest that, in all probability, Holbein presented him
with this miniature as a New Year's gift, and that in return he received
the forty shillings from his old patron as an acknowledgment.2 The
miniature is thus some three or four years later in date than the
portrait at Tyttenhanger, painted not later than the spring of 1534,
when he was Master of the Jewel House.3
Unfortunately this miniature has suffered severely during its past
career, and has been so rubbed down that little of the details of the
dress or ornaments can now be distinguished beyond the mere outlines.
" The face," says Mr. Cust, " is faded and also rubbed, but here the
skilful drawing of the features reveals a master-hand which could be
no other but Holbein's. Very subtle, however, and recognizable are the
distinctive features of Thomas Cromwell, the vulgar nose, with its sunken
bridge, the cunning eyes with the puckered skin at their corners." 4
The scope of this book does not permit any detailed description
of the very numerous miniatures of Henry VIII and the members of
1 C.L.P., vol. xiv., pt. ii., 782 (f. 117).
2 See Burlington Magazine, vol. xx., December 191 1, p. 175.
3 See pp. 58-60. * Burlington Magazine, vol. xx., October 191 1, p. 5.
MINIATURES OF HENRY VIII 233
his family which are to be found in various collections in England,
the more important of which have been publicly exhibited from time
to time. In the royal collection in Windsor Castle there are four of
the King himself, but none of them can be given to Holbein. Three
of them appear to have been painted immediately before Holbein's
first visit to England, and the fourth shortly after his death. Two,
in which Henry is beardless, and of youthful appearance, were in
Charles I's collection, and are entered in his catalogue as being among
" the limned pictures which my Lord of Suffolk gave to the King."
One of them is inscribed, in two lines, " h.r. viii. an0 etatis xxxv0,"
which gives the date as 1525-6 ; the other, which it resembles closely,
has no date, but merely " rex henricus. octavvs." x The third
Windsor miniature is inscribed " h.r. viii. an0 xxxv." In the
spandrils four golden angels, on a bright red ground, are holding the
letters H and K in golden cords, and linked with true lovers' knots.
Sir George Scharf considered these initials to refer to the King's last
marriage, on July 12, 1543, with Catherine Parr, and the " xxxv0 "
as referring, not to Henry's age, but to his regnal year. " The face,"
he says, " at first sight looks youthful, but it is fat, and, on careful in-
spection, has a worn and very artificial appearance, as if means had
been employed to conceal age." 2 Mr. Wornum, on the other hand,
considered the numerals to refer to the King's actual age, and not to
his reign, and the initial K to Katherine of Aragon.3 It is only
possible to say of the earlier of these miniatures that they are not the
work of Holbein. As to the real author of them, the name of one or
other member of the Hornebolt family can only be tentatively given,
without any real proof in support of it, beyond the fact that the
Hornebolts were settled in this country before 1526, the name appear-
ing in the accounts of the expenses of the royal household in that year,
and that there appears to have been no other foreign artist of like im-
portance living in London at that date. Mr. Lionel Cust, in the Burling-
ton Fine Arts Club Exhibition Catalogue, suggests the name of Jehan
Perreal, or Jehan de Paris, as the possible author of some of the early
portraits in miniature of the King, painted before Holbein's arrival
in England. Perreal was over here at the time of the marriage of
1 Both reproduced by Law, Holbein's Pictures at Windsor Castle, PI. vii.
2 "Remarks on Some Portraits from Windsor Castle, Hampton Court, and Wilton House,"
Archceologia, vol. xxxix., 1863, p. 252. 3 Wornum, p. 281.
234 HOLBEIN AS A MINIATURE PAINTER
Louis XII, whose official painter he was, with Princess Mary Tudor,
for the purpose of designing the new Queen's dresses. His visit,
however, could have been but a short one, and does not account for
miniatures of the year 1526.
The fourth miniature of the King at Windsor is in oils on oak, 2| in.
in diameter, in which he is wearing a thin beard and whiskers. It is
inscribed, " henr. 8 rex. angl. jeta. s: 57." Its date, therefore,
must refer to the last year of the King's reign, 1546, though there is
a mistake in the age, as he never entered his fifty-seventh year. Ac-
cording to Charles I's catalogue, it was " supposed to be done by
Holben, and given to the King by my Lord Suffolk." In type it
corresponds very closely to the portrait of Henry in St. Bartholomew's
Hospital, London. There is yet another miniature of the King at
Windsor, by Nicholas Hilliard, which appears to have been copied
from some lost original by Holbein or by Hornebolt. It is one of the
customary full-face versions, with beard, and is one of the four fine
miniatures which were appended to an elaborate jewel which Hilliard
executed in enamels and gold, possibly for Edward VI, representing the
Battle of Bosworth Field, which was bought by Charles I from Laurence
Hilliard, the painter's son. The three other miniatures represent
Henry VII, Jane Seymour, evidently copied from the well-known
portrait by Holbein, and Edward VI, which recalls more than one of
the portraits of the young King usually attributed to Guillim Stretes.
The one of Henry VIII is inscribed in gold : " 1536. ^tatis sv,e 46."
No less than five miniatures of the King were lent to the Burlington
Fine Arts Club Exhibition by the Duke of Buccleuch, two of which are
attributed to Holbein. One is a reduced copy of Holbein's portrait
of Henry belonging to Earl Spencer (Case C, 6). A second1 is
inscribed " h.r. viii. an0 xxxv," and appears to be the original from
which the Windsor miniature, described above, was copied (Case
C, 7). It was formerly in the Magniac Collection. The catalogue
suggests that it is possibly the work of an illuminator of the French
school. A third (Case C, 25), with a very similar inscription, is evi-
dently a second copy of the same miniature. The fourth (Case C, 8
(d)), forms one of a series of eight in an ebony frame, which were for-
merly in the collection of Charles I. It is a full face, with grey beard,
and, according to the royal catalogue, was " done by Hans Holbein,
1 Reproduced in the Burlington Fine Arts Club Catalogue, PL xxxiii.
MINIATURES OF HENRY VIII 235
given to the King by my Lord Suffolk." x The companion miniatures
represent Henry VII, Elizabeth of York (" copied by Hoskins after
an ancient ould coloured piece "), Katherine of Aragon, Anne Boleyn
(also copied by John Hoskins " after an ould colured piece "), Queen
Mary (" done by Ant. More "), Edward VI, and Queen Elizabeth (" done
by Old Hilliard "). The " Henry VIII " is fine, and in the Burlington
catalogue is attributed to Holbein, but it is more probably another
copy from " an ould coloured piece " by the master. It has con-
siderable resemblance to the fifth miniature from Montagu House 2
(Case C, 2), also ascribed to Holbein, but not by him.
The very fine miniature portrait of the King in the Pierpont
Morgan Collection was included in the same exhibition (Case B, i).3
Old tradition says that this portrait was presented by the King himself
to Anne of Cleves. Tradition in this case may be correct, though this
Queen is the least likely of all to have been the recipient of such a gift.
The correspondence with reference to the suggested marriages with
the Duchess of Longueville, the Duchess of Milan, and Anne herself,
shows that Henry always refused to send a portrait of himself while
such negotiations were in progress. His anxiety was to see a portrait
of the lady first, and, if possible, the lady herself, before making his final
decision, and to send one of himself before such final decision had been
made would have been too compromising. It is not likely, therefore,
that he sent one to Anne in Diiren, and as he took the strongest aver-
sion to her directly he saw her, it is still less probable that she received
a gift of so personal a nature after she arrived in England. Dr.
Williamson, in his catalogue of Mr. Morgan's miniatures, gives a very
interesting account of the history of this fine little portrait,4 and the
companion one of Anne of Cleves, both at one time in the possession
of the Barrett family, of Lee Priory, Kent, and later in that of the
Meyricks, of Goodrich Court, to which reference has been made in an
earlier chapter.5 Some years before the death of General Meyrick,
who had succeeded to the Goodrich Court Collection, the miniature
of Henry VIII disappeared, and was supposed to have been stolen.
1 Reproduced by Williamson, Hist. Portrait Miniatures, PI. ii. 6.
8 Reproduced in the Burlington Fine Arts Club Catalogue, PI. xxxiii.
3 Woltmann, 157. Reproduced in Mr. Morgan's Catalogue, PL ii., and in colour in the
edition de luxe, No. 2 ; Burlington Fine Arts Club Catalogue, PL xxxii. ; Ganz, Holbein,
p. 227 (3).
* See Mr. Pierpont Morgan's Catalogue, pp. 4-7. 5 See pp. 18 1-2.
236 HOLBEIN AS A MINIATURE PAINTER
It is said to have travelled as far as Vienna, but four years or so after
General Meyrick's death it reappeared in England, and was repur-
chased for the family, from whom, in 1906, it was acquired by
Mr. Morgan.
It represents the head and shoulders only, full face, with grey beard
and moustache. Henry wears a black cap trimmed with jewels, loops
of pearls, and a white feather, a brown fur coat over a grey doublet
embroidered with black, a narrow white collar, and a gold chain round
his neck. There is no inscription on the blue background. It is 1 J in.
in diameter, and is still preserved within its original turned ivory box,
ornamented at top and bottom with the Tudor rose, and covered with
a piece of rock crystal. There is some resemblance between it and
the crayon drawing of the King at Munich, and, in the details of the
costume, to the large cartoon at Chatsworth and the full-face portrait
in Windsor Castle, which has been considered by some critics to be
a copy of a lost picture by Holbein, and by others as an original por-
trait by some such court painter as Lucas Hornebolt. The differences
in the costume are slight, and the dress is in its main features the same.
Fine as this miniature is, it is difficult to ascribe it to Holbein himself ;
it is more probably only an excellent old copy of a lost original, or the
work of some capable miniaturist adapted from one of Holbein's
paintings.
The miniature of Anne of Cleves, which is slightly larger than the
one of Henry VIII, and is enclosed within a similar turned ivory box
delicately carved to represent a Tudor rose, has been already described,1
It is of the finest workmanship, and may be given to Holbein with little
hesitation. It was included in the Burlington Club Exhibition, 1909
(Case B, 4), and the catalogue states that in all probability it was painted
in July 1539, at Diiren. Holbein's visit to that place was of longer
duration than was usual when he was sent to take likenesses of the
ladies who were candidates for Henry's hand.2 As a rule, he only
remained just long enough to make a study in coloured crayons, but he
stayed at Diiren for a week or two, and so may have had time to paint
both the large portrait and the miniature, though it must be remembered
that he also painted or drew the lady's sister, the Princess Amelia.
It is much more probable that the miniature was taken from the
larger portrait, or that both were done from some lost crayon study,
1 See pp. 181-2. 2 See p. 176.
MINIATURES OF JANE SEYMOUR 237
than that the Louvre picture should have been painted from the
miniature.
There are several miniatures of Queen Jane Seymour in existence,
in most cases attributed to Holbein, all, with one exception, closely
following the portrait of that Queen in the Vienna Gallery, upon which
they are evidently based. Among the best are two which were in the
Burlington Fine Arts Club Exhibition, lent by Mr. Vernon Watney
and by the Duke of Buccleuch. The former (Case B, 2),1 inscribed
merely " a°n xxv," is said to have belonged originally to the Seymour
family, and to have been given by Charles, Duke of Somerset, to his
granddaughter, Elizabeth Wyndham, wife of the Right Hon. George
Grenville, from whom it passed into the possession of the Duke of
Buckingham. It was afterwards in the Sackville Bale and Lumsden
Propert collections. Sir George Scharf considered this miniature to
be a portrait of Anne Boleyn, and regarded the " xxv " as the King's
regnal date, and not as that of the lady's age ; 2 but the likeness tojane
Seymour is stronger, though not very marked. Mr. C. F. Bell points
out 3 that the likeness of the sitter to Lady Hemingham or Heveningham
(" Henegham "), as she is represented in the fine drawing at Windsor,4
is much more pronounced, and he suggests that the miniature was
painted from the portrait of that lady, taken from the drawing, which has
now disappeared. Mr. Watney's miniature, however, closely resembles
the one belonging to the Duke of Buccleuch (Case C, 5),5 though the
latter has no inscription and the pendant jewel set with large pearls is
absent. This last portrait belonged to Horace Walpole, and by him was
regarded as representing Katherine of Aragon, and under that name it
passed from the Strawberry Hill sale into the hands of Mr. Blamire,
and afterwards into its present ownership. It appears to be, however,
an undoubted portrait of Henry's third queen. Another miniature of
Jane Seymour was lent to the same exhibition by Mr. H. Dent-
Brocklehurst (Case B, 6),6 attributed like the others to Holbein, which
was also formerly in the possession of Horace Walpole. The portrait of
this queen is also among the four miniatures attached to the enamelled
1 Reproduced in the Burlington Fine Arts Club Catalogue, PL xxxii. ; Ganz, Holbein,
p. 148 (1).
2 Archaologia, vol. xl., 1866, p. 81.
3 In a communication to Dr. Ganz. See Holbein, p. 245.
* Woltmann, 333 ; Wornum, ii. 25 ; Holmes, ii. 12.
5 Reproduced in the Burlington Fine Arts Club Catalogue, PI. xxxii.
6 Reproduced in the Burlington Fine Arts Club Catalogue, PI. xxxii.
238 HOLBEIN AS A MINIATURE PAINTER
jewel, of Nicholas Hilliard's workmanship, in the royal collection at
Windsor, mentioned above. It is inscribed " ano dni 1536 ^etatis
svm 27," which no doubt appeared on the original miniature by
Holbein, now lost, from which all these others are also derived.
The miniatures of Catherine Howard have been already described.1
It is doubtful whether Holbein painted Queen Catherine Parr, for the
King did not marry her until July 12, 1543, only a month or two
before the artist died. A miniature in the possession of Mr. H. Dent-
Brocklehurst, lent by him to the Burlington Fine Arts Club Exhibition
(Case B, 7), is said to represent this Queen and to be by Holbein, but
both attributions are probably incorrect. It is inscribed " ano xxxii,"
and if this is to be read as the regnal year, it must have been painted
between April 1540 and April 1541, and, if it represents this Queen,
more than two years before her marriage. She wears a scarlet, black,
and white circular French hood with black fall, and cloth of gold dress.
Sir George Scharf considered it to be a portrait of Catherine Howard.2
Several miniatures of Edward VI exist — there are three in the
Buccleuch Collection — though not one has been so far discovered from
the hand of Holbein himself. Most of them represent the boy at a
period after Holbein's death, and the name of Guillim Stretes has
been suggested as their author.3 The beautiful little circular drawing
of the Prince, at a very early age, in the Basel Gallery,4 is apparently
Holbein's first study for a miniature which has now disappeared, and
may have been the " portrait of the Prince's Grace " which the artist
presented to Henry VIII on New Year's Day, 1539.5
Certain of these miniatures, and others not described here, some
of them apparently copies after Holbein, while others are original
works, were no doubt produced by Susanna Hornebolt, Livina 6 Teerlinc,
and Stretes, all three of whom were in turn much employed about the
court, and enjoyed royal pay. It has been impossible, so far, to
separate the works of these artists, or to find any starting-point in
the shape of a signed miniature from which any judgment of their
particular methods and style can be formed. What little is known
of Susanna Hornebolt has been given in an early chapter. Livina
Teerlinc, eldest daughter of the miniaturist, Simon Binnink of Bruges,
married George Teerlinc of Blankenberghe, near Bruges, and after
1 See pp. 192-3. 2 Archceologia, vol. xl., 1866, p. 84. 3 See pp. 168-9.
4 Woltmann, no (82). 5 See p. 164. G Also spelt Levina.
LIVINA TEERLINC 239
the death of her husband's father, in 1545, they came to England.1
She is mentioned by Vasari in a short passage as " Levin a, daughter
of the above-named Master Simon of Bruges, who was nobly married
in England by Henry VIII, was held in great esteem by Queen Mary,
and is now in much favour with Queen Elizabeth," an account which
Guicciardini copies and slightly elaborates.2 Her name does not occur
in the royal accounts, however, until Midsummer, 1547, under Edward
VI, when, as " maistris Levyn Terling paintrix," she received a quarter's
wages of £10. She held the same appointment under Mary and Elizabeth
and at the same salary, £40 a year. On New Year's Day, 1556, she
presented Queen Mary with a small picture of the Trinity, and two
years later her New Year's gift to Queen Elizabeth was a portrait
of her Majesty " finely painted upon a card," for which she received
in return a silver-gilt casting-bottle weighing 2§ oz. In 1561, on a
like occasion, there was given to the same Queen, " By Mrs. Levina
Terling, the Queenes personne and other personnages in a box fynely
painted," which so pleased Elizabeth that she retained it in her own
keeping, and gave " Maistris Levyn Terling " in return a silver-gilt
covered salt-cellar weighing 5 J oz.3 George Teerlinc returned to Bruges,
and died there before 25th August 1580 ; and Mr. Weale conjectures
that his wife died before him, probably in England, but there is no
documentary evidence of this. In any case, Vasari, and Guicciardini
after him, were wrong in stating that while at the English court she
was " nobly married."
In the case of Livina, as with Susanna Hornebolt, it is impossible
to point with certainty to any work as being indubitably from her hand.
The two beautiful miniatures in the Salting Collection representing two
little girls, sisters, aged five and four respectively, which were formerly
in the collection of Mr. C. H. T. Hawkins, were attributed by both
these owners to Livina Teerlinc, and were so described in the catalogue
of the Burlington Fine Arts Club Exhibition (Case B, 5).4 The rich-
ness of the costume indicates that they were the children of some
important personage about the court. Each one is dated " ano dni
1 See Weale, Burlington Magazine, vol. viii., February 1906, p. 356.
2 The latter says : " Levina, figliuola di maestro Simone di Bruggia gia mentionato, la quale
nel miniare come il padre e tanto felice et eccellente, che il prefato Henrice Re d'Inghilterra la
voile con ogni premio haver' a ogni modo alia sua corte, ove fu poi maritata nobilmente, fu molto
amata dalla Regina Maria, et hora e amatissima dalla Regina Elisabetta."
3 See J. Gough Nichols, Archceologia, xxxix. pp. 39-40.
4 Reproduced in Burlington Fine Arts Club Catalogue, PL xxxii.
240 HOLBEIN AS A MINIATURE PAINTER
1590," and they are enclosed in a contemporary turned ivory case.
Dr. Williamson states that at one time they had attached to them
" a strip of parchment on which was recorded, in handwriting un-
doubtedly contemporary, that the two little portraits were ' fynely '
painted by Lavina Teerlinc in 1590 at Greenwich." x It is impossible
however, that miniatures painted in 1590 can be her work if Mr.
Weale's conjecture 2 that she died before 1580 is correct ; but Dr.
Williamson, who has been good enough to re-examine his notes, made
when the miniatures were in the Hawkins collection, is now of opinion
that the date on the parchment is not 1590, but 1570. The third
figure is indistinct, but appears to be 7. If this is so, the attribution
of these charming little works to Livina is very probably a true one,
and the artist may still have predeceased her husband, as Mr. Weale
surmises. There is an interesting miniature in Earl Spencer's col-
lection, signed with an " L," and dated 1526, a double portrait, said
to represent Sir John Boling and his mother, though the couple
appear to be man and wife, which has been ascribed by some writers
to Lucas d'Heere, though the date, of course, makes such authorship
impossible. Mr. J. J. Foster3 states that when he examined it he
thought he could discern a " T " following the " L," and suggests
that it was the work of Livina Teerlinc ; but this is equally impos-
sible, for, according to Mr. Weale's researches, she and her husband
did not reach England until about 1545, while in 1526 she must have
been a mere child.
There are several very interesting miniatures in the Pierpont
Morgan Collection which, although they cannot be given to Holbein
himself, are certainly of his school and period. One of the finest
represents a Baseler named Arnold Franz, a man with a brown beard
and moustache, dressed in black.4 It is in a richly-enamelled gold
frame with pendant pearls, and the sitter's age, " aet. 32," enamelled
on the front, and on the reverse, " Arnold Franz, Holbein Pinx." It
was procured at the sale of a collection in Basel, and was stated to
have been in the possession of the descendants of the sitter ever since
it was painted. There was also an unbroken family tradition that
Holbein himself had painted it, and that Franz, said to have been a
1 Williamson, History of Portrait Miniatures, vol. i., Addendum, p. xx.
2 Burlington Magazine, vol. viii., February 1906, p. 356, and vol. ix., July 1906, p. 278.
3 British Miniature Painters, 1898, p. 14 and PI. v.
* Pierpont Morgan Catalogue, No. 3, and PI. hi., No. 1, and colour plate, Edition de luxe, No. 3.
MINIATURE OF KRATZER 241
printer and a friend of Froben's, was intimately acquainted with the
artist. The Franz family, now extinct, are also said to have possessed
for many years a letter from Holbein to his friend, in which the minia-
ture is mentioned, but the document has been lost.1 A second miniature
in Mr. Morgan's collection is a portrait of Niklaus Kratzer, and is
evidently by the same hand as the one of Arnold Franz. It is not a
reduced version of the Louvre picture, which was painted in 1528,
but appears, in Dr. Williamson's opinion, to have been painted some
years earlier than that date, though, if that be the case, it is not very
likely that Holbein was its author. The face is nearly in profile, to
the left, and the astronomer is wearing the customary fur-lined black
coat and black cap, and a gold chain round his neck. In his hand he
holds a brass armillary sphere. A third miniature, in the same pos-
session, which has considerable affinity in style to the two just men-
tioned, represents Charles Brandon, Duke of Suffolk. It was formerly
in the possession of the royal house of Holland, and afterwards in the
Propert and Tomkinson collections. Dr. Williamson suggests that
some of the Holbeinesque miniatures, such as these, which exist in
considerable numbers, may have been the work of Hans Mielich (15 15-
1572), of Munich, who painted portraits and miniatures of some merit,
and was for a time court painter to the Duke Albrecht V of Bavaria.
There is no record, however, of any visit paid by him to England.
Others may be possibly the work of such painters as Thomas and John
Bettes and Guillim Stretes, who are dealt with in a succeeding
chapter.2
There remains one other miniature to be noted, which until recently
was regarded as the work of Hans Mielich, but is now, with apparent
justice, given to Holbein. It is in the Bavarian National Museum,
Munich, and represents a young man, turned slightly to the right, with
a fair pointed beard and moustache, and wearing a black dress and
cap. It is inscribed upon the blue background, on either side of the
sitter's head, " h.m. ^etatis sv.e 27." 3 It was once thought to be a
portrait of Melanchthon, and afterwards, on account of the initials it
bears, it was regarded as a portrait of Mielich by himself. Its attri-
bution to Holbein was due to Dr. Hans Buchheit, the director of the
1 Information kindly supplied by Dr. G. C. Williamson from his notes to Mr. Pierpont
Morgan's Catalogue.
2 See pp. 303-4 and 309. 3 Reproduced by Ganz, Holbein, p. 150 (1).
VOL. II. Q
242 HOLBEIN AS A MINIATURE PAINTER
National Museum, who published it in 191 1 as a work of the painter's
later time. The initials upon it are undoubtedly those of the sitter,
and not of the artist, and it has been suggested that it represents the
painter, Harry Maynert, one of the witnesses to Holbein's will.1
Whether this is so or not, the miniature itself is a fine one, and, judging
from a photograph alone, its attribution to Holbein by Dr. Buchheit
must be accepted as the correct one.
1 See Athenaum, No. 4359, 13th May 1911, p. 550; Ganz, Holbein, p. 246.
CHAPTER XXVI
THE WINDSOR DRAWINGS AND OTHER STUDIES
The history of the book of drawings by Holbein in the royal collection at Windsor Castle —
Early references to it — Sir John Cheke — The book's various changes of ownership — Charles I
exchanges it with the Earl of Pembroke for a Raphael — Afterwards in the Arundel Collection
— Discovery of the drawings in Kensington Palace by Queen Charlotte — John Chamber-
laine's publication of them from engravings by Bartolozzi — Methods of their execution —
Their present condition — Description of the more important of them — And of similar
portrait drawings at Berlin and Basel— Holbein and the Clouets — The " Queen of Sheba "
miniature painting at Windsor — The "Death of Virginia" at Dresden — Drawing of a ship
at Frankfurt — Drawings of animals.
F, through some great misfortune, nothing remained
of Holbein's work but the wonderful series of draw-
ings of the heads of the men and women of Henry
VIII's court, in the royal library at Windsor, this
collection alone would still afford irresistible proof of
his right to the title of one of the very greatest
masters of portraiture. The history of these drawings can be
traced with some exactness, though there are certain breaks in
the continuity of the story. In whatever way they may have
been preserved by Holbein during his lifetime, they were, shortly
after his death, bound together in book form, and so remained
until their rediscovery in the eighteenth century. Although they
are not included in the elaborate inventory of the royal col-
lection of works of art, dated 24th April 1542, or in the second in-
ventory taken five years later, in the first year of Edward VTs reign,
it may be conjectured that they came into the possession of the Crown
on Holbein's death in 1543, or very shortly afterwards. His death
was so sudden, that they may have been left behind in his painting-
room at Whitehall, unknown to his executors, and so remained in
royal keeping, though this is not a very likely surmise. It is certain,
in any case, that the book containing them was at one time in the
possession of Edward VI. This is proved by an entry in the Lumley
inventory of 1590, to which reference has been already made more
243
244 THE WINDSOR DRAWINGS
than once. The entry is as follows : "A greate booke of Pictures
doone by Haunce Holbyn of certeyne Lordes, Ladyes, gentlemen and
gentlewomen in King Henry the 8 : his tyme, their names subscribed
by Sr John Cheke Secretary to King Edward the 6 wch book was
King Edward the 6."
There is no reason to doubt the statement that the names on
many of the drawings were supplied by Sir John Cheke, who, at
one time professor of Greek at Cambridge, became one of the tutors of
the young Prince before he ascended the throne, and died in 1557.
He must thus have been intimately acquainted with a certain number
of Holbein's sitters, though not with all of them. This would account
for the fact that although many of the names he has written on the
drawings are the right ones, certain others are incorrect, while some
fourteen of them are not named at all. He made mistakes, for
instance, over some of the earlier drawings, such as several of the
sitters in the More Family Group, with whom he was not likely to
have been acquainted, and in some doubtful cases he probably in-
dulged in guesswork. The late Sir Richard Holmes considered that
he merely made a list of the drawings, which has not survived, and
that from this list the names were inscribed on the sheets by some
later hand.1 There is an entry in the accounts of Sir Thomas Car-
warden, Master of the Revels, preserved among the Loseley MSS.,
which very probably refers to this very book of drawings. The docu-
ment is undated, but is considered to be of the reign of Edward VI.
It is as follows : " Item for a peynted booke of Mr. Hanse Holby
making, 6 li." It is, of course, quite possible that this " peynted
booke " may have had nothing to do with the Windsor drawings, but
there is no other known work of Holbein's to which the description
would so well apply. The supposition that it was the very book, and
that it was purchased by Sir Thomas for Edward VI, fits in well with
the fact, established by the Lumley inventory, that the youthful
monarch at one time possessed it. If this be so, the suggestion that
Henry VIII obtained it immediately after Holbein's death is, of course,
incorrect.
It would appear that the book came into the possession of Henry
Fitz-Alan, Earl of Arundel, after the death of Edward VI, either by
1 Holmes, Introduction to Hanfstaengl's Portraits of Illustrious Personages of the Court of
Henry VIII.
HISTORY OF THE BOOK OF DRAWINGS 245
gift or purchase, and was preserved at Nonsuch, together with the
various portraits by Holbein, already mentioned, some of which were
certainly at one time in the royal possession ; and on his death in
1580, passed to his son-in-law, Lord Lumley. The palace and estate
of Nonsuch reverted to the Crown in 1591, by exchange for other
property, but at what time the numerous pictures by Holbein left the
possession of the Lumley family is not known. At Lord Lumley's
death in 1609 the greater number of his books passed into the hands
of Henry, Prince of Wales, elder brother of Charles I, and it is very
probable that the " greate booke of Pictures doone by Haunce Holbyn '
accompanied them, and once again formed part of the royal collections.1
It is usually stated, however, that Charles I obtained them through
the good offices of M. de Liancourt, the French ambassador, this state-
ment being based on a note in Abraham Van der Doort's catalogue of
that monarch's pictures, which, if correct, indicates that at some time
between the drawing up of the Lumley inventory (1590) and the list
of King Charles' pictures (1639), the book of drawings had been taken
into France, and so cannot have belonged to Henry, Prince of Wales.
It seems certain, nevertheless, that this supposed journey to France
and back again never took place. Mr. Lionel Cust's suggestion is
evidently correct, and the mistake has arisen through a confusion
between Holbein's book of drawings and a very similar book of draw-
ings by a French hand, representing illustrious personages of the French
court, both of which were in the King's collection, and are separately
described in Van der Doort's catalogue. It was the latter book, no
doubt, which was procured through M. de Liancourt, some such
volume as that now at Knowsley, or the collection formerly at Castle
Howard, now at Chantilly,2 or the numerous albums of a similar kind
scattered about France. Holbein's book of drawings, on the other
hand, came to Charles I from his brother.
The King, however, did not retain the volume for long, but exchanged
it with the Earl of Pembroke for the beautiful little picture of " St.
George slaying the Dragon," by Raphael, which is now in the Hermitage
Gallery, St. Petersburg. This latter is entered in Van der Doort's
catalogue as " A little St. George, which the King had in exchange of
1 See Cust, Burlington Magazine, vol. xviii., February 191 1, p. 269.
2 These were purchased by the fifth Earl of Carlisle in Flanders, probably towards the close
of the eighteenth century.
246 THE WINDSOR DRAWINGS
My Lord Chamberlain, Earl of Pembroke, for the book of Holbein's
drawings." This picture was sold by the Commonwealth for £150,
and after passing through the La Noue, De Sourdis, and Crozat col-
lections, found a final resting-place in the Hermitage. In 1627, while
still in the Earl of Pembroke's possession, it was engraved by Lucas
Vorsterman, so that the exchange with the King may have taken place
in 1628 or thereabouts. Lord Pembroke, in his turn, did not keep
the drawings, but almost at once passed them on to the great collector,
Thomas Howard, Earl of Arundel, who, according to Sir Edward
Walker, who wrote his life, had " more of that exquisite master, Hans
Holbein, than are in the world besides." Whether Lord Pembroke
gave the drawings to him, or in his turn carried out a second exchange,
is not known.
Their presence in the Arundel Collection is proved by a contemporary
reference in the manuscript among the Harleian MSS.1 in the British
Museum entitled, " An exact & Compendious Discours concerning the
Art of Miniatura or Limning," on the fly-leaf of which is written, in
an eighteenth-century hand, " of Limning by Hilliard," to which
attention has been already called.2 As the Holbein drawings were
still in the possession of Charles I in 1627, the paragraph in the
" discours " which speaks of them as in the Arundel Collection cannot
have been penned by Nicholas Hilliard himself, who died in 1619.
The compiler was almost certainly Edward Norgate, who held Holbein
in the highest estimation. Speaking of the painting of shadows, he
says : —
" The black must be deepened with ivory black, and if in working
in the heightenings and light-reflections, you will mingle with your
ordinary black a little lake and indigo, or rather a little litmus instead
of indigo, you will find your black to render a rare and admirable re-
flection like to that of the well-dyed satin, especially if your lights be
strong and hard ; the manner whereof if you please to see inimitably
expressed, you will find abundantly for your content in the gallery of
my most noble Lord the Earl of Arundell, Earl Marshal of England,
and done by the incomparable pencil of that rare master, Hans Holbein,
who in all his different and various manners of painting, either in oil,
distemper, limning, or crayon, it seems was so general and absolute
1 No. 6000. 2 See p. 219.
NORGATE'S REFERENCES 247
an artist, as never to imitate any man, or ever was worthily imitated
by any." »
The reference to the Windsor drawings occurs in the chapter
dealing with crayon-painting. " I shall not need," the writer says,
" to insist upon the particulars of this manner of working ; it shall
suffice, if you please, to view of a book of pictures by the life, by the
incomparable Hans Holbein, servant to King Henry the Eighth.
They are the pictures of most of the English lords and ladies then
living, and were the patterns whereby that excellent painter made
his pictures in oil by ; they are all done in this latter manner of
crayons I speak of, and though many of them be miserably spoiled
by the injury of time, and the ignorance of some who formerly have
had the keeping of the book, yet you will find in those ruinous remains
an admirable hand, and a rare manner of working in few lines and no
labour in expressing of the life and likeness, many times equal to his
own, and ever excelling other men's oil pictures. The book hath been
long a wanderer ; but is now happily fallen into the hands of my
noble lord the Earl Marshal." 2
A second contemporary reference to the drawings occurs in
the Bodleian Library manuscript, Miniatura or the Art of Limning,
etc., also by Edward Norgate, to which reference has been already
made.3 Norgate, when dealing with crayon drawings, says : " A
better way was used by Holbein, by priming a large paper with a
carnation or complexion of flesh-colour, whereby he made pictures by
the life, of many great lords and ladies of his time, with black and
red chalke, with other flesh colours, made up hard and dry, like small
pencil sticks. Of this kind was an excellent booke, while it remained
in the hands of the most noble Earl of Arundel and Surrey. But I
heare it has been a great traveller, and wherever now, he hath got
his errata, or (which is as good) hath met with an index expurgatorius,
and is made worse with mending." 4 That the book was described
1 Quoted by Wornum, pp. 397-8. Also by Dallaway with slight differences (see p. 219 above).
2 Quoted by Wornum, p. 398. Dallaway, in his notes to Walpole, vol. i. p. 84, quotes this
passage with slight differences, and adds after "Earl Marshal"— "a most eminent patron to all
painters who understood the arte ; and who therefore preserved this book with his life, till both
were lost together" — which is not consistent with the words preceding it.
3 See p. 219. This manuscript is Norgate's final version of the "discours," written some
twenty years or so later than the British Museum manuscript, which was his first compilation.
4 Quoted by Dallaway, in his notes to Walpole's Anecdotes, vol. i. p. 84 ; and by Wornum,
P- 398.
248 THE WINDSOR DRAWINGS
as a " great traveller " is, no doubt, due to the fact that from 1642
until his death, four years later, the Earl was living on the
Continent, and that he took all his works of art with him. " After
her husband's death," says Mr. Cust,1 " the Countess of Arundel
continued to reside at various places on the Continent, accompanied
by her collections, until her own death at Amsterdam in 1654. Liti-
gation then ensued between her sons as to the disposal of her property.
A good part of the valuable Arundel Collection was disposed of in Hol-
land by the Countess's younger son, Lord Stafford, but a considerable
part eventually returned to the family of the Duke of Norfolk in
England." There is every reason to suppose that among the latter
the Holbein book was included.
It should be noted that, according to Charles I's catalogue, the
number of drawings was only fifty-four. Van der Doort may have
made a mistake in the entry, putting a 5 instead of an 8, otherwise it
must be supposed that Lord Arundel already possessed some thirty
of these " heads," which he added to the book after Lord Pembroke
had given it to him. The collection as it now exists does not contain
the whole of the portrait-drawings of Holbein's English period. The
fine head of Lord Abergavenny at Wilton appears to have been kept
back, or to have been accidentally retained, by Lord Pembroke when he
parted with the remainder of the collection, and there are several others
in continental museums and elsewhere, some of which are known to
have once formed part of the Arundel Collection. At Basel there are
Sir Nicholas Carew, an unknown English lady, and a second English
lady and her husband ; at Dresden the Count Moretta ; at Munich
the head of Henry VIII ; at Berlin a fine head of an unknown
Englishman ; in the Salting Collection the magnificent study of a
lady already described ; 2 and the two heads in the Duke of Devon-
shire's Collection at Chatsworth.3 If, therefore, Van der Doort is
correct in stating that there were only fifty-four drawings in the
book when it was in his keeping, the one person in England most
likely to have added so considerably to their number was the Earl
of Arundel, who was unceasing in his search for original works from
Holbein's hand. There is no record to show at what time the book
returned to the royal collections, though the tradition noted by
1 Burlington Magazine, vol. xviii., February 191 1, p. 269.
s See Vol. i. p. 309. 8 See Vol. i. pp. 336-7.
LATER HISTORY OF THE DRAWINGS 249
Dallaway, in his edition of Walpole's Anecdotes, that they were pur-
chased for James II at the sale of the possessions of Henry, Duke
of Norfolk, in 1686, is no doubt the correct one.1 A list of the
drawings was included in James II's catalogue, which was published
by Bathoe in 1758. After this the drawings themselves were laid
aside and forgotten, and it was not until early in the reign of
George II that they were rediscovered by Queen Caroline hidden
away in a folio in an old bureau in Kensington Palace, together with
a volume of equal importance containing the drawings of Leonardo
da Vinci, which now form so valuable a part of the royal collection
at Windsor. Queen Caroline had them framed and glazed, and for
many years they decorated her own apartments, first at Richmond,
and afterwards in Kensington Palace. Early in the succeeding reign
they were removed to the Queen's House, now Buckingham Palace,
where they were taken from the frames and bound up in two volumes,
forming a part of the large collection of drawings, similarly bound,
got together by George III. The suggestion that they should be en-
graved originated with Dalton, the keeper of the King's drawings,
but the work was so badly done that it was abandoned in 1774 after
ten plates only had been issued. The engraver was George Vertue,
who, according to Walpole, was the originator of the project. " It
is a great pity," he says, " that they have not been engraved ; not
only that such frail performances of so great a genius might be pre-
served, but that the resemblances of so many illustrious persons,
nowhere else existing, might be saved from destruction. Vertue had
undertaken this noble work ; and after spending part of three years
on it, broke off, I do not know why, after having traced off, on oil
paper, but about five and thirty. These I bought at his sale ; and
they are so exactly taken as to be little inferior to the originals." 2
This tracing was done by Vertue and Muntz when the drawings were
hanging in Queen Caroline's room at Kensington. There were thirty-
four of them, and they were framed and hung in what Walpole called
his Holbein Chamber at Strawberry Hill. Somewhat later the projected
publication was taken up again more successfully, on the suggestion,
according to Dallaway, of Horace Walpole, under the direction of
John Chamberlaine, who succeeded Dalton as keeper of the drawings.
The engravings were published between 1792 and 1800 in fourteen
1 Walpole, Anecdotes, ed. Wornum, vol. i. p. 84 note. 2 Ibid., pp. 85-6.
250 THE WINDSOR DRAWINGS
numbers, containing eighty-two portraits, forming two large folio
volumes, under the title of Imitations of Original Drawings by Hans
Holbein, in the Collection of His Majesty, for the Portraits of Illustrious
Persons of the Court of Henry VIII, with Biographical Tracts. The
historical notices were written by Edmund Lodge, Lancaster Herald,
and the plates, with the exception of eight, were engraved by F. Barto-
lozzi, R.A. F. C. Lewis was also engaged to take part in the work,
but his plate of " Cecilia Heron " was in all ways so much finer than
Bartolozzi's efforts that Chamberlaine had the plate destroyed,
fearing that if it were published side by side with the others, the latter
would suffer so severely from the contrast that the success of the pub-
lication would be endangered. As transcripts of Holbein's drawings,
Bartolozzi's engravings have very little artistic merit. Many of them,
indeed, have small likeness to the originals, and all of them lack the
strength and character and the searching truth of line which make
the drawings themselves such masterpieces of art. In more recent
years the drawings have been frequently photographed and published,
the most important series being that issued by Mr. F. Hanfstaengl in
two volumes, with an introduction and descriptive notes by the late Sir
Richard Holmes, F.S.A. It should be added that under Queen Victoria
the two volumes were broken up, and the drawings properly mounted
and arranged. They are now kept in four portfolios.
In Walpole's day the collection consisted of eighty-nine sketches,
but in more recent times two have been withdrawn, as the work of
Jacob Binck. One of the two heads of Sir Thomas Wyat is only a
good, careful copy of the other, in which the hair of the beard is
drawn with great elaboration, from the hand of some follower or
imitator of Holbein, and in one or two other cases the drawings are,
perhaps, only copies of lost originals, or even original drawings by
some other hand, such as the so-called " Melanchthon," with its
faltering line, which lacks much of Holbein's customary strength and
certitude.
The drawings were executed in almost all cases in black and coloured
chalks. During his first visit to England Holbein used, as a rule,
white paper, the outlines being drawn in black and the features modelled
in red chalk. The series of heads of members of Sir Thomas More's
family, and contemporary drawings such as the Warham and Guldeford,
are done in this manner. Later on it was his custom to use a paper
THE METHOD OF THEIR EXECUTION 251
covered entirely with a ground of flesh or salmon colour, upon which
the features were modelled in black chalk, and slight touches of red,
after which the outlines were strengthened and the details of the hair,
dress, and ornaments put in with pen or brush and Indian ink. In
some cases the whole face was completely modelled with the greatest
delicacy, and as a rule the eyes, hair, and beard were drawn in with
water-colour or coloured crayons in their natural hues. Upon a
number of the drawings the colour and material of the costume worn
by the sitter are indicated by notes in Holbein's own handwriting,
and in some of them details of the ornaments or embroideries have
been drawn on the margin of the sheet with the brush with the sure
and rapid hand of a master. In one instance — the portrait of John
Godsalve — the drawing is entirely finished in water-colours, and the
figure is shown against a blue background ; and in one of the two heads
of Sir Thomas More the holes with which it was pricked for tracing
on the panel can still be seen. The earlier drawings are usually the
largest, the one last named being about 16 in. high by 12 in. wide.
The Warham is 17 in. by 12 in., the Guldeford 15 in. by n in., and the
Godsalve the same size. One of the largest of all is the Jane Seymour,
which is 20 J in. by 11 in.
" Some have been rubbed," says Walpole, " and others traced
over with a pen on the outlines by some unskilful hand." l In a
few instances, it is true, these strengthening touches appear to be by
some other hand than Holbein's, but in most of the drawings they are
just as certainly his. The studies have suffered considerable damage
during the passage of time. They are stained, and many of them
badly rubbed, so that the more delicate modelling and colouring
carried out in crayons has almost vanished. In consequence the
brush-work, which has better withstood rough usage, at first sight
appears to be a little hard, and in some instances even coarse, thus
slightly marring that perfect harmony of effect which characterised
the drawings when fresh from the artist's hand. The finer details
have been worn away, leaving certain lines more prominent than Hol-
bein intended. A closer study, however, as Sir Richard Holmes points
out, shows that it is to the wonderful strength and delicacy combined
of these touches that the portraits owe the vivid and lifelike quality
which they so pre-eminently possess. " On some of the heads these
1 Walpole, Anecdotes, ed. Wornum, i. p. 85 note.
252 THE WINDSOR DRAWINGS
touches occur only on the eyes, nostrils, and lips, where the marvellous
accuracy of modelling, particularly in the corners of the mouth, is not
to be excelled in the work of any other master." 1 It must be remem-
bered, too, that these studies were, in almost all cases, working
drawings, done for transference or for copying on the panel, and are
in that sense not finished works, some parts and details being empha-
sised more strongly than others. In certain of the drawings the beard
and the hair have been put in with the brush with that careful and
elaborate detail with which such features were usually carried out by
Holbein in his finished portraits ; for instance, in the long beard of
Sir Thomas Wyat or the close-cut hair of Simon George. In other
drawings the unshaven stubble on a man's chin or upper lip is put
in with a few masterly strokes. Here and there high lights have
been indicated with a touch of white, as in the heads of Lord and Lady
Vaux. It may be taken, then, that in the greater number of cases,
the only hand which can be traced in these drawings is that of Holbein
himself, dimmed here and there by the passing of the years, or rough
or careless usage at some time or other during their earlier wanderings.
Certain critics, however, consider that in many of them, some later
hand has attempted to revivify the fading lines, with results quite
contrary to those intended. Mr. Campbell Dodgson, speaking of
the lovely head of an Englishwoman in the Salting Collection, de-
scribes it as being " entirely free from the retouching which disfigures
many of the Windsor heads." 2 Mr. Gerald Davies is also among
those who consider that the drawings have been retouched by some
other hand than Holbein's. " I am quite persuaded," he says, " that
the strengthening of the outlines, either by chalk lines or in many cases
by Indian ink, is not due to the hand of Holbein himself. Among the
drawings are a few which have never been so touched. The lines of
these are of great delicacy and of the most expressive quality — an
artistic dream which has almost faded from the paper. These are
the select few which, having suffered most from rubbing, and having
the faintest indications to guide the hand of the reinforcer, have been
left in their ghostly beauty. Others have been revived by the appli-
cation of a bolder chalk line of the proper colour in parts where the
outline seemed most to need it. It has been done on the whole well, if
1 Holmes in Introduction to Hanfstaengl's Portraits of Illustrious Personages, &c.
2 Vasari Society, Pt. ii. (1905-6), No. 31.
THE METHOD OF THEIR EXECUTION 253
such a thing can ever be said to have been well done at all. But these
same lines will be found to be hard and wiry, and somewhat unfeeling
as compared to the subtly sympathetic outline of the master himself.
There remains yet the further manner of reinforcement by a strong
outlining, often accompanied by a slight thickening in parts by means
of a wash, in what appears to be Indian ink. The ink has toned
now, and has lost much of the offence of its once strong contrast with
the rest of the delicate modelling. But remembering what that con-
trast would have been when the ink was fresh, I find it impossible to
believe that it was added by the hand of Holbein." l Mr. Davies
suggests that this Indian-ink strengthening took place when the draw-
ings came into the hands of Charles I, and that possibly Wenceslaus
Hollar was employed for the purpose. It is difficult to follow him in
this suggestion of Hollar's retouching, nor can the writer agree with
him in his opinion that a more or less wholesale retouching of the draw-
ings has ever been undertaken by any hand than that of Holbein
himself. A more credible suggestion is that of Mr. Lionel Cust, who
says : " It is very probable that the drawings were refreshed by out-
lines very soon after Holbein's death, if not by the painter himself.
Since that date the most likely time for them to have suffered any
alteration would have been after their re-discovery at Kensington,
when they were for a time in the hands of George Vertue, an expert
crayon-artist himself as well as engraver." 2
Some part of the damage done to them may have been due to wear
and tear in the artist's own studio, for it is possible that he employed
an assistant or two ; though if that had been the case, it is strange that
there is no record among the State papers of a licence granting him
leave to employ journeymen, such as was necessary under the Act
dealing with foreign residents. It is possible, too, though far from
probable, that he may have had one or two pupils — though here again
there is no record of them — who would copy his drawings, and might
be entrusted occasionally with the tracing of the drawings upon the
panel, or even in painting parts of the replicas of portraits which must
sometimes have been ordered. It is evident that these drawings
were made solely for the artist's own purposes, both in order to avoid
a too frequent attendance of his sitters at his studio, and also because
it was the method of working which best suited him. They remained,
1 Davies, Holbein, p. 122. 2 Burlington Magazine, vol. xviii., February 191 1, p. 270.
254 THE WINDSOR DRAWINGS
therefore, in his own possession, and were never handed over to his
patrons. The fashion of collecting portraits of celebrities which was
in vogue in France throughout the sixteenth century was only imitated
in a very minor degree in England. In France, as M. Dimier points
out, " the result of this rage for portraits was that people were not
content with the necessarily limited number of originals. The works of
the masters of the time were copied and recopied a hundred times,
often by unskilful and sometimes by absolutely clumsy hands. This
was the case not only with the portraits of kings and queens, which
have been multiplied thus in all ages, but with those of any one at
court — a feature which is peculiar to the period under consideration.
Not even the number of painted portraits and painted copies was
enough ; there was a demand for quicker and cheaper satisfaction.
The original chalk-drawings were copied, in the same medium, an
infinite number of times, far oftener, indeed, than the paintings ;
and these drawings were commonly bound into albums and preserved
as family treasures. A vast number of these albums must have
perished, but a vast number still exist." x Nothing of this kind
occurred on this side of the Channel. Holbein's original drawings,
after his death, were preserved in a volume in this fashion, but they
formed an unique example. Though copies or duplicates of one or
two of them exist, such as the John Fisher and the Duchess of Suffolk
in the British Museum, the Guldeford, Fisher and Poyntz formerly in
the Heseltine Collection, and the head called Sir Charles Wingfield in
the collection of Sir John Leslie, Bart., recently published by Mr.
Lionel Cust,2 the collection as a whole was never copied in this way,
as it would have been in France. It is doubtful if most of these dupli-
cates, fine as they are, are actually from Holbein's own hand.
It may be taken for granted that portraits were painted from
nearly all these Windsor studies, more than eighty in number, though
possibly a few, drawn during the last months of his life, were not carried
out in this way. It is, therefore, a little extraordinary that less than
thirty of such finished oil portraits have so far been traced, the re-
mainder having disappeared ; and of these latter only about one-half
are original paintings by Holbein, the remainder being copies of lost
originals. Among the first-named we have Jane Seymour, Catherine
1 Dimier, French Painting in the Sixteenth Century, p. 29.
2 Burlington Magazine, vol. xviii., February 191 1, p. 271.
STUDIES FOR LOST PORTRAITS 255
Howard, the Prince of Wales, Sir Thomas More, Warham, Guldeford,
Southwell, John Godsalve, Reskimer, Simon George, Lady Vaux,
Lady Rich, Lady Butts, Lady Audley (miniature only), and one or
two others ; in the second class the More Family Group is the most
important, there being no less than seven studies for this great work
at Windsor, including the one of Sir Thomas himself.
There still remain more than fifty drawings in England alone of
which no paintings are known. It seems impossible that the whole
of these pictures should have perished. Some of them, it is to be
hoped, may yet be discovered, hidden away in some remote country
house, perhaps obscured by dirt and disfigured by repaintings, so
that hitherto they have remained unrecognised. It is not very likely
that drawings of this size were made as preliminary studies for minia-
tures, or otherwise this might account for some of the missing portraits,
as such small works would be much more easily lost than panel paint-
ings. It is true that in a few instances, such as the portraits of Lady
Audley and the Earl of Abergavenny, we have miniatures closely fol-
lowing the drawings, but no large portraits ; but it does not follow
that the latter were not painted.
On the other hand, there are a considerable number of Holbein's
portraits — between thirty and forty — for which no preliminary studies
remain, and these range over every period of his career. This, how-
ever, is not so extraordinary, for drawings disappear more easily than
pictures. In some instances, too, their absence may be explained
by the artist's method of work. It was his occasional habit, more
particularly in the earlier half of his career, to fasten down the pre-
liminary study upon the panel, and use it as the ground-work of his
painting, so that the drawing naturally was lost. The portrait of his
wife and children at Basel has been carried out in this way, and the
Anne of Cleves in the Louvre is painted on vellum or parchment,
afterwards mounted on canvas. This, however, was not his more
regular practice, which was to transfer the study to the panel by trac-
ing or pricking. Not a single study exists for any one of the portraits
of the German merchants of the Steelyard, or for such portraits as the
Duchess of Milan, Jean de Dinteville and the Bishop of Lavaur,
Kratzer, Thomas Godsalve, Sir Henry Wyat, Cromwell, Tuke, the Duke
of Norfolk, Cheseman, Dr. Chamber, and the painted portraits of
various unknown men at Berlin, Vienna, Basel, and elsewhere. For
256 THE WINDSOR DRAWINGS
the portraits of Erasmus there is only a study for the hands, while
there is no drawing for the Amerbach or Froben. On the other hand,
among a number of fine drawings in continental museums there are,
in addition to the two earlier and three later ones of the members of
the Meyer family, only two — the Morette in Dresden and the Sir
Nicholas Carew in Basel — of which the finished paintings still exist.
There is no doubt that Holbein's practice as a portrait painter
during his second and longer residence in England was almost entirely
confined to the court and to those who were in the King's employment.
The Windsor drawings, a number of which have been described in pre-
vious chapters of this book, make this sufficiently clear. Included
among the heads which have not been described are John Russell,
Earl of Bedford ; Sir William Parr, afterwards Marquis of North-
ampton ; Thomas Boleyn, Earl of Wiltshire and Ormonde ; Edward
Stanley, Earl of Derby ; George Brooke, Lord Cobham ; Thomas,
Lord Vaux ; Sir Thomas Parry ; Sir William Sherrington ; Sir Thomas
Wentworth ; Edward, Lord Clinton ; Sir Thomas le Strange ; Sir
George Carew ; Lord Chancellor Rich, and others ; and among
the ladies, Lady Parker, Lady Ratcliffe, Mary Zouch, Lady Rich,
Lady Henegham, the Marchioness of Dorset, Lady Mewtas, Lady
Monteagle, and Lady Borough.
The study of William Parr, Marquis of Northampton (PI. 34 (2)),1
is one of the few in which the hands are shown. The head, with close-
cropped hair and short, round beard, has suffered from rubbing, but
remains a fine and strongly individualised study of character. The
dress and jewellery are indicated with some elaboration, to which are
added notes in Holbein's handwriting, and detailed sketches of his hat
ornaments and other jewellery are drawn in the margin. The medallion
he wears appears to be of open-work with a figure of St. George, and
one of the links of his chain is inscribed with the word " Mors." In
the Thomas Boleyn,2 also, the right hand is shown, and the dress is
drawn with much more detail than in most of the companion drawings,
while the face is one of the most carefully elaborated in the whole
series, the individual hairs of the beard and moustache being indicated
with minute precision. Equally careful drawing of the hair is to be
seen in the head of Lord Stanley,3 with its expressive face and fine
1 Woltmann, 316; Wornum, ii. 5 ; Holmes, i. 15.
2 Woltmann, 288 ; Wornum, i. 21 ; Holmes, i. 16.
3 Woltmann, 310; Wornum, i. 16 ; Holmes, i. 18.
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DESCRIPTIONS OF SOME OF THE HEADS 257
eyes. Another very powerful drawing is the full-face portrait of Lord
Cobham,1 with open doublet showing his bare chest, a head of most
striking individuality. One of the most beautiful among the more
finished studies is that of Lord Vaux (PL 35),2 in which the hair,
cut straight across the forehead, and the beard and moustache are put
in with almost microscopic detail, as well as the design upon the white
collar with its strings of black and white cord. There is a second study
of Lord Vaux 3 in the collection. It is, of course, impossible to give
even a short description of the whole of the drawings, but among the
numerous studies of " unknown men " two in particular cannot be
overlooked. The one is the head of a handsome young man with a
long, sharp nose,4 thin whiskers, and a small beard, the head turned
slightly to the right, and both eyes shown (PL 34 (1)). He wears large
ostrich feathers in his black hat, which has a medallion, the design
not indicated, and gold tags. The dress, very roughly sketched in,
is badly rubbed. The drawing is one of great beauty, very delicate
and refined in its treatment and feeling. The second, to which refer-
ence has been already made, is the very striking likeness of a man
with a flat, broad nose, bushy, curly beard, and hair falling over the
ears, his eyes cast slightly downwards, one of the most powerful
drawings in the Windsor Collection, which Miss Hervey suggests is
possibly a study for a second portrait of Jean de Dinteville (PL 36 (i)).5
Dr. Paul Ganz considers the sitter to be a man of pronounced southern
French type, and probably a member of the French embassy which
was in London in 1533. 6 It is just as probable, however, that this
unknown nobleman was English, for the type, though unusual, is to
be met with occasionally.
Among the portraits of ladies it is unfortunate that several of
the finest have suffered from bad rubbing. Such an one is the head
of Mary, daughter of the Duke of Norfolk, and wife of the King's
natural son, Henry, Duke of Richmond, which has been already de-
scribed.7 The fine head of Lady Mewtas (PL 37 (2)),8 the face a strong
1 Woltmann, 315 ; Wornum, i. 44 ; Holmes, i. 19.
2 Woltmann, 320 ; Wornum, i. 26 ; Holmes, i. 23.
3 Woltmann, 322 ; Wornum, i. 41 ; Holmes, i. 31.
4 Woltmann, 346 ; Wornum, i. 25 ; Holmes, i. 51.
5 Woltmann, 345 ; Wornum, i. 12 ; Holmes, i. 52.
8 Hdz. von H. H. dem Jung., p. 54.
7 Woltmann, 324 ; Wornum, ii. 17 ; Holmes, ii. 23.
8 Woltmann, 339 ; Wornum, ii. 20; Holmes, ii. 16.
See p. 44.
See pp. iio-ii.
VOL. II. R
258 THE WINDSOR DRAWINGS
one, is very delicately modelled, and unspoilt by the presence of too
forcible outlines. Her jewelled ornaments include a circular pendant
with five dark table stones and three hanging pearls, suspended from a
thin chain, with beads round the neck, a circular medallion at the breast
with a figure subject now almost obliterated, and across the top of
the bodice a band of pearls set in groups of five like flowers. The in-
correctly-named " Lady Mary, after Queen," * whom it certainly does
not represent, is another fine drawing which has suffered considerable
damage. It has been gone over with the tracing point for transfer-
ence to panel, but no painting after it is now known to exist. The
same is the case with the head of the Marchioness of Dorset,2 the
daughter of Charles Brandon and the King's sistert,Mary, which also
shows indications of tracing. This is a good example of a drawing in
which the fine modelling of the face has now almost disappeared, so
that the darker lines stand out too insistently. There is most brilliant
and subtle drawing of the eyes, nose, and mouth in the very expressive
and beautiful head of the so-called Lady Henegham (PI. 38), 3 wife
of Sir Anthony Hemingham or Heveningham, of Ketteringham in
Norfolk, which remains in very excellent condition. She wears a small
pendant ornament with one hanging pearl at her neck, and on the
breast an upright oval medallion with a figure within a Renaissance
framework. It has been suggested that this fine head really represents
Margaret Roper, and the features are not unlike those of several
members of the More family ; but against this attribution must be
placed the fact that the drawing, unlike all the other studies for the
family picture, is not on white paper. Among the best of the other
heads of women are Lady Parker,4 Lady Lister,5 Lady Rich,6 Lady
Elyot,7 Lady Audley, already described (PI. 37 (1)), an unknown
lady, wearing a white cap or bonnet covering the hair and ears and
reaching to the chin 8 — a large drawing on white paper, something of
Etched by Hollar (Parthey, 1465) ; the
3 Woltmann, 333 ; Wornum, ii. 25
4 Woltmann, 338 ; Wornum, ii. 28
5 Woltmann, 336 ; Wornum, ii. 26
6 Woltmann, 319; Wornum, ii. 37
7 Woltmann, 285 ; Wornum, ii. 19
8 Woltmann, 350; Wornum, ii. 13
Holmes, i. 28.
Holmes, ii. 10.
Holmes, i. 39.
Holmes, ii. 11.
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Vol. II., Plate 35
THOMAS, LORD VAUX
Drawing in black and coloured chalks
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Vol. II., Plate 38
"THE LADY HENEGHAM"
(Possibly Margaret Roper)
Drawing in black and coloured chalks
Windsor Castle
STUDIES IN BERLIN AND BASEL 259
the type of the More family, but rather more freely drawn — and Mary
Zouch (PL 36 (2)).1 The last-named is one of the most attractive of the
whole series. The face, seen in full, is modelled with extreme delicacy
and expression. She wears a French circular hood with bands of orna-
ment over her smooth, yellow hair, parted in the middle and covering
the ears. Her dress is of black velvet, as noted in Holbein's hand-
writing, and the medallion at her breast, surrounded with a Renais-
sance framework, has an almost obliterated subject, apparently a
female figure with flying draperies seated on a rock, possibly Perseus
and Andromeda. This drawing is inscribed " M. Souch," and Sir
Richard Holmes, following Wornum, suggests that the drawing
represents Joan, wife of Richard Zouch, son of Lord Zouch of Haring-
worth. It is, however, more probably Mary Zouch, a member of the
same family, who was a maid of honour to Jane Seymour, and, after
the Queen's death, received an annuity of £10 on April 6th, 1542, in
recognition of her services, which was to be continued until she " was
married or otherwise provided for."2
The Berlin Print Room possesses a remarkably fine portrait-drawing
of an unknown Englishman,3 with deep blue eyes, straight brown
hair, a scanty beard, and a thoughtful, expressive face, slightly turned
to the left. He wears a small flat cap, unornamented, and the usual
gown with heavy fur collar. Only slight touches of colour have been
used on the eyes, hair, and lips, and the paper has been covered with
a pale red wash.
Among the portrait-drawings in the Basel Gallery, some fourteen
in all, most of which have been already described, the finest is perhaps
that of an unknown young man in a large, broad-brimmed black hat,4
which is certainly one of the most beautiful of his drawings now
existing (PI. 39). The sitter, a handsome and dignified man, with a
large, straight nose, and refined features — evidently a man of culture
of the type of Bonifacius Amerbach — is turned to the left, the face seen
almost in profile, though both eyes are shown. The lips of the mobile
mouth are slightly parted, and the expressive eyes gaze into the distance,
1 Woltmann, 344 ; Wornum, ii. 27 ; Holmes, i. 30.
2 C.L.P., vol. xvii. 283 (28). (April 6, 1542.)
3 Woltmann, 120. Reproduced by Ganz, Hdz. von H. H. dent Jiing., PI. 36 ; Davies, p. 224.
* Woltmann, 38. Reproduced by Ganz, Hdz. Schwz. Mstr., i. 54, and Holbein, p. xxxi. ;
Knackfuss, fig. 106.
260 THE WINDSOR DRAWINGS
as though he were lost in thought. The brown, bushy hair, which
covers the ears and falls over the forehead, is drawn with rapid, mas-
terly touches, and the profile of the face stands out with great effect
against the dark background formed by the underside of his large hat.
The flesh tints are suggested with simple but subtle touches of the
chalk. The dress is merely sketched in with a few lines, though the
brown fur collar of his coat is sufficiently indicated just where it comes
under the beardless chin. This superb drawing, in which the artist
has seized upon and set down with unerring insight the finest traits of
the sitter's character, is in black and coloured chalks. The type
of face, in the opinion of Woltmann and Dr. Ganz, is distinctly
German. From its technique, which, on the one hand, has much in
common with the later studies of the Meyer family made for the Darm-
stadt " Madonna," and on the other with the drawings for the More
Family Group, it may be surmised that this study was made in Basel
shortly before Holbein left for his first visit to England. It has much
in common, too, with the coloured drawing in Basel of Holbein himself,
and it may be noted, as a small point, that the hat the unknown youth
is wearing is similar to the one the artist wears, though rather larger,
and is of a different fashion from the black head-gear worn by Holbein's
English sitters.
Among the other portraits of unknown personages at Basel are
two heads of an Englishman and his wife,1 and a third, still finer, of
a lady wearing the angular English head-dress and black fall, who was
evidently a member of the court circle.2 This drawing, which is also in
black and coloured chalks, must be placed among the best of Holbein's
studies of women. It has been conjectured that it represents Lady
Carew, and also Lady Guldeford. The equally beautiful drawing of Sir
Nicholas Carew3 has been described already. All the drawings just
mentioned form part of the Amerbach Collection, and it may be sug-
gested, though the suggestion is not a very plausible one, that at least
those of them which represent English people were taken to Basel by
Holbein himself, on one or other of his visits home, and were left
behind when he returned to England, together with the sketch-book,
1 Woltmann, 36, 37. The lady reproduced by Ganz, Hdz. Schwz. Mstr., i. 11. Already
described. See Vol. i. p. 321, and Plate 82, Vol. i.
2 Woltmann, 32. Reproduced by Davies, p. 224 ; Knackfuss, fig. 105. Already described.
See Vol. i. p. 321, and Plate 81 (2), Vol. i.
3 Woltmann, 31. Reproduced by Ganz, Hdz. Schwz. Mstr., iii. 40 ; and in Holbein, p. xxxiii.
(?E
'I ,.il ,.ioV
iu i ii;
■
Vol. II., Plate 39
PORTRAIT OF AN UNKNOWN YOUNG MAN
Drawing in black and coloured chalks
Basel Gallery
r
• . ; f
HOLBEIN AND THE CLOUETS 261
also in the Amerbach Collection, which is undoubtedly of the English
period ; or, on the other hand, they may have been sent over from
London to his widow with his personal belongings by his executors
after his death.
Altogether apart from their artistic merits, these drawings of
Holbein's are of the utmost historical value, both on account of their
number, including as they do so many of the leading characters who
played a part in the making of England in Tudor days, and also be-
cause of the perfection of their draughtsmanship and the correspond-
ing life-likeness of their portraiture, so that they form true documents
in every sense of the word. Holbein's genius shows us Henry's
ministers and the lords and ladies who surrounded him, just as they
were in life, without any attempt at flattery, but with every feature
set down with unfaltering truth, and, above all, with a grasp of char-
acter which the portrait drawings of no other great master of his period
show in the same degree. He has left behind, as a mine of wealth for
the use of the student of history, in drawings alone, without taking
into account his numerous painted portraits for which no drawings
now exist, a series of more than one hundred representations of Tudor
men and women. In only one other instance can we turn to a similar
series of contemporary portraits — the chalk drawings of French men
and women of the same century by the two Clouets, Jean and Francois,
father and son. These, though of the utmost value as historical por-
traiture, and also of great beauty and even fascination as works of
art, fall short of the greatness which stamps Holbein's work of a like
nature. The elder Clouet had not his mastery of drawing ; his know-
ledge was more limited and his means more restricted. His drawings
have " a stiffness and dryness which are very far from the flowing
and supple handling of the Basle master." * His son had considerably
more science. " His drawing in reality is extremely profound, and
as exactly calculated as any known. In tracing the human face and
all the parts presented by the model, he has the ability of a specialist,
whose long practice of an art that is deep rather than wide has enabled
him to accumulate a mass of information and experience. He reaches
perfection in the proportion of the features, in the exact placing of all
the fine fugitive, mobile parts of the face, in the careful study of the
extremely subtle relations from which the mass of form draws its solidity,
1 Dimier, French Painting in the Sixteenth Century, p. 44.
262 THE WINDSOR DRAWINGS
and in skill in constructing the unity of impression of a face and of a
type." ' He has little or nothing, however, of Holbein's beauty of
style. Holbein's drawings are matchless in the delicacy of their model-
ling, every little depression or prominence in the contours of the face
being indicated with an exactitude and a simplicity of means un-
rivalled in work of such nature ; and also for the way in which this
delicacy of touch in handling the crayon, and subtlety and precision
of the strengthening lines with brush or pencil, are combined with the
wonderful vigour and sense of life with which each individual drawing
is filled. Added to their truthfulness in portraiture there is that
remarkable insight into the true nature and feelings of the sitter
which is one of the greatest qualities of Holbein's art. It is owing to
the knowledge and mastery which are the basis of these portrait studies
— studies usually made with rapidity, but in which nothing essential
has been missed by the penetrating eye and unerring hand of the artist
— that so perfect a result is obtained with means apparently so slight.
Delicacy and strength meet in them in exquisite combination ; the
flexibility and refinement of his line are always kept well under control,
and there is no over-elaboration of detail to the detriment of char-
acter. Each drawing bears upon it the stamp of a style, and of a great
style, which was Holbein's own individual possession, in which freedom
and truth are tempered and perfected by self-restraint.
To attempt even a list of Holbein's more important drawings
other than his portrait-studies would be quite beyond the scope of
this book, in the course of which, however, many of them have been
touched upon ; but there still remain several which cannot be passed
over in silence. Chief among them is the small drawing on parchment,
highly finished like a miniature, in the Library, Windsor Castle, which
represents the "Queen of Sheba's visit to King Solomon" (PI. 40). 2
It is a composition containing no less than thirty-four small figures,
and so, after the wall-paintings in the Basel Town Hall and the
" Triumphs " of the London Steelyard, is one of the most considerable
arrangements of grouping ever attempted by him. King Solomon
is seated on a throne on a high dais approached by a number of steps
within a large chamber, the roof of which is supported by slender columns
1 Dimier, p. 205.
* Woltmann, 272. Reproduced in Ganz, Hdz. von H. H. dem Jung., PL 32, and in Holbein,
p. 182; Knackfuss, fig. 145.
.
Vol. 1J., Plate 40
THE QUEEN OF SHEBA'S VISIT TO KING SOLOMON
Silver-point drawing washed with colour
Windsor Castle
"THE QUEEN OF SHEBA " 263
of Renaissance architecture. Behind the throne is suspended a large
curtain, and on the steps on either side are placed groups of the elders
and long-bearded wise men of Solomon's kingdom. In the centre
the Queen mounts the steps, her hands outstretched as though in wonder
and admiration of the great king. In the foreground a procession of
her ten ladies, walking two and two, passes towards the left, and on
the right are a group of her attendants bearing rich presents, some
of them kneeling with uplifted baskets. The drawing is in silver
point, slightly washed with grey and brown, and touched here and there
with water-colour ; the fruits in one of the baskets are red and green,
and some of the draperies and details are touched with dead gold. The
background between the pillars is blue powdered with gold stars.
The Renaissance architecture of the setting is purer and less florid
in style than is the case with many of Holbein's earlier studies for glass
paintings. The figures of the women are gracefully conceived and
grouped, and the heads of the men have character and expression. In
its general arrangement the upper half of this miniature drawing recalls
the " Rehoboam " wall-painting in the Basel Town Hall, though the
setting is more richly treated ; while in the general gracefulness of
its design it is Italian in feeling, and has close affinity to the " Triumph
of Riches " drawing for the decoration of the Steelyard. It was
probably done at about the same date as the latter, perhaps as a
present for the King, the subject having been chosen as conveying
a subtle and flattering suggestion that Henry and Solomon were alike
in their possession of great wisdom. It is finished with such minute
care that it does not seem likely that it is merely the preparatory
sketch for some larger picture or wall-painting. There is no record
of any wall-decoration of this subject, either in the Steelyard or at
Whitehall, though Holbein may have had some idea when at work
upon it that it might serve for such a purpose afterwards if it met
with the King's approval ; or, on the other hand, it may be a minia-
ture copy from one of his frescoes in grisaille, which has disappeared,
made by Holbein himself as a gift for his royal master. It was at one
time in the Arundel Collection, and while there was engraved by Hollar.
In the inventory of that collection it is entered as " Regina de Saba
in miniatura chiaroscuro." There is a picture in the Dresden Gallery
representing the " Death of Virginia," which appears to be an early
copy of another of Holbein's lost frescoes in grisaille, which has many
264 THE WINDSOR DRAWINGS
points in common with the " Queen of Sheba " miniature painting,
and is carried out in a similar scheme of colouring. Both were, no
doubt, the work of his second English residence.1
Another important drawing, of an earlier date, in the Stadel
Institut at Frankfurt, represents a transport ship about to put out to
sea.2 It is a three-masted vessel, with high poop, crowded with small
figures, among them a troop of landsknechte, one of whom stands in
the stern, a fine figure, holding aloft a banner which flaps in the wind.
Others play drum and trumpets, some hold pikes, and one of them
embraces a girl. The anchor has been hauled up, and most of the
sailors are at work in the rigging unfurling the sails ; but several of
them are taking parting drinks from large jars, even at the masthead,
and one of the number is already overcome with sea-sickness. Below,
on the left, a boat with two rowers is pulling vigorously towards the
ship, either to put on board a late comer or to fetch off those for the
shore. The exact date of this drawing is uncertain. It is possible
that Holbein saw some such vessel during his visit to Amerbach in
the south of France, or that he made it a year or two later at Antwerp
on his way to England for the first time.
His skill in the representation of animals is shown in a number
of drawings. There are some fine horses in the " Triumph of Riches "
study, and also in the " Samuel and Saul " and the " Sapor and
Valerian " drawings for the Basel Town Hall paintings, as well as in
the woodcut of " The Ploughman " in the " Dance of Death " series
and in others of his woodcut illustrations ; the latter also showing good
studies of sheep, dogs, and other animals. The early drawings of a
lamb and a bat have been described on a previous page.3
1 See Woltmann, ii. p. 124. Reproduced by Ganz, Holbein, p. 174.
2 Woltmann, 152. Reproduced by Knackfuss, fig. 70. Water-colour has been used for the
faces, dresses, and other parts of the drawing.
3 See Vol. i. p. 161.
CHAPTER XXVII
DESIGNS FOR JEWELLERY AND THE DECORATIVE ARTS
Holbein as a practical designer for craftsmen in the different branches of art workmanship —
Architectural designs — The " Holbein Gate " at Whitehall — The Porch at Wilton — Drawing of
a royal chimney-piece in the British Museum — Ceilings in St. James's Palace and the Matted
Gallery, Whitehall — Sculptured capitals in the More Chapel, Chelsea Church — Glass window
in Shelton Church, Norfolk — Number of his designs for jewellers, goldsmiths, and
armourers — The Jane Seymour Cup — Other designs for cups in the Basel Museum — Sir
Anthony Denny's clock — Sword and dagger hilts and sheaths — Henry VI IPs love of
jewellery — Pendants — Book covers — Monograms — Panels of ornament — Designs for circular
medallions or enseignes in the British Museum and at Chatsworth and Basel — The leading
English and foreign jewellers in London — Holbein's probable connection with some of them.
OLBEIN was a master in all crafts, and Erasmus' de-
scription of him in his letter to Peter iEgidius,1 not
as painter, or sculptor, but simply as a fine workman
(insignis artifex), was a true one. His great tech-
nical powers in every department of decorative
design, his practical knowledge of the various pro-
cesses employed in the different branches of art workmanship for
which he supplied the craftsmen with patterns and working drawings,
show him to have been a real master of arts in every sense of the word.
" The artistic quality he possessed in the highest degree," says Mr.
M. Digby Wyatt, " was, I consider, the intensity with which he realised
' form/ Able master as he was of delineation, what gives the stamp
of enduring truth to his work is the feeling of assurance his delineation
conveys to the mind of the spectator, that what he has drawn from life
was the vera effigies of what he saw — that what he designed could
never be executed with equal propriety in any other way than as his
drawing defined it. There is never any uncertainty as to his inten-
tion or meaning — what he says was, was — what he says should be,
should be. In this precise conception of pure form and power of
conveying his own sense of it to others, he stood upon the same plat-
form as the great men to whose universal genius I have already alluded
1 See Vol. i. p. 255.
265
266 DESIGNS FOR JEWELLERY
— Albert Diirer and Leonardo da Vinci. The artist who possesses
in a high degree any such power as that I have attempted to define,
must of necessity have the requisite aptitude for success in either
painting, architecture, or sculpture, or all three ; since the power in
question lies at the root of and is indispensable to the satisfactory
practice of either or all. Architects will do well to look earnestly at
such reliques as time has spared of the genius of Diirer, Da Vinci,
and especially of Hans Holbein, since, so far as I know, they were the
best makers of working drawings who ever lived. Of whatever they
drew they gave every characteristic, and their slightest sketches never
fail to mark essentials and to omit secondaries of form and expression." '
Horace Walpole, speaking of the rise of Renaissance architecture
in England — " Grecian art plaistered on Gothic," he calls it — says that
" the beginning of reformation in building seems owing to Holbein. His
porch at Wilton, though purer than the works of his successors, is of this
bastard sort ; but the ornaments and proportions are graceful and well
chosen. I have seen drawings of his, too, in the same kind. Where
he acquired this taste is difficult to say ; probably it was adopted
from his acquaintance with his fellow-labourers at court." 2 Though
there is no doubt that Holbein would have been a fine architect had
his inclination led him to practise that branch of art — the backgrounds
of his designs for painted glass afford ample proof of his aptitude for
design in the new architectural manner of the Italian Renaissance —
Walpole's assertion cannot be accepted as the truth. Henry VIII
had at least two good Italian architects in his employment — first,
Girolamo da Treviso, and afterwards John of Padua, as well as sculptors
and modellers of architectural detail such as Benedetto da Rovezzano
and Giovanni da Maiano, and it is the influence of such Italians as
these that is to be most clearly discerned in the buildings which were
erected in England at this period. Holbein produced a few designs
of an architectural nature, but no building exists of which it can be
said that he was the architect.
The gateway which, according to tradition, he designed, and hence
known as " Holbein's Gate," was one of Henry VIIFs additions to
Whitehall, and connected the tennis court, the cock-pit, and the
1 M. Digby Wyatt, "Foreign Artists employed in England," &c, Transactions of the Royal
Institute of British Architects, 1868, p. 229.
2 Walpole, Anecdotes, ed. Wornum, i. 128.
"HOLBEIN'S GATE" AT WHITEHALL 267
bowling-green with the palace, besides providing the King with a
gallery into the park, from which he could witness the sports which
took place there on special occasions. It was built, according to Wal-
cott, of stone mixed with small squares of flint, and tesselated, and
was " very neatly set." J. T. Smith, in his Antiquities of Westminster,
describes it as being in the Tudor style of architecture, with battle-
ments and four lofty towers, the whole enriched with bustos on the north
and south sides. Pennant, who had himself seen the gate, says :
" To Holbein was owing the most beautiful gate at Whitehall, built
with bricks of two colours, glazed and disposed in a tesselated fashion.
The top, as well as an elegant tower on each side, were embattled.
On each front were four busts, in baked clay, which resisted to the last
every attack of the weather." An excellent idea of its appearance
is to be obtained from the engraving by G. Vertue (1725) in the
" Vetusta Monumenta."
The gateway was pulled down in 1759 in order to widen Parliament
Street. The materials were obtained by the Duke of Cumberland,
Ranger of Windsor Park, with the intention of re-erecting the gate at
the end of the Long Walk. In the end, however, they were worked up
in several buildings the Duke built in the park. Two of the medallions
were put in front of the park lodges, but most of them appear to have
been stolen when the gateway was pulled down. Three of them
eventually came into the possession of a coachbuilder named Wright,
who, in 1769, employed John Flaxman, the sculptor, then a boy, to
repair them. They were in terra-cotta, coloured and gilt, and the
ornaments included the rose and crown and the King's initials.
Wright had them removed to Hatfield Priory, Essex, where they
were still to be seen in 1803, in which year J. T. Smith went down there
to copy them. They were larger than life, and were said to be repre-
sentations of Henry VII, Henry VIII when sixteen, and Bishop
Fisher. The two which decorated the front of the park lodges were
afterwards removed to Hampton Court, where, says Allan Cunningham,
" they are made to do duty as two of the Roman emperors described
by Hentzner in his Travels." It seems probable that they were the work
of Giovanni da Maiano. In its design there is nothing to suggest that
Holbein was the architect of this famous gateway, and it is much more
probable that one of the Italians employed by the King was respon-
sible for it ; and the legend which connects Holbein with it may have
268 DESIGNS FOR JEWELLERY
arisen from the fact that he had rooms in Whitehall, possibly in the
very gateway to which his name has been so long attached. It con-
tained, says Dallaway, " several apartments, but the most remarkable
was the ' little study, called the New Library,' in which Holbein was
accustomed to employ himself in his art, and the courtiers to sit for
their portraits." 1
Tradition has also long associated the name of Holbein with the Porch
at Wilton, the seat of the Earl of Pembroke. This porch or loggia is
of no great beauty, but it is free from any admixture of Gothic detail,
and is a good example of the early adaptation in England of Renaissance
architecture and ornamentation. It originally formed part of the
house, but in the nineteenth century, when some alterations to the
buildings were made, it was removed to the end of a walk in the gardens.
The dissolution of the monastery of St. Edith, on the site of which the
house stands, took place in 1539, and the abbey and its rich possessions
were granted by the King to Sir William Herbert shortly afterwards.
In the erection of his mansion the first Earl no doubt employed one
of the architects then attached to Henry's court, for there is little in
the design of this small porch to support the tradition that the man
he selected was Holbein, rather than one of the Italians whose business
it was to invent and embellish such buildings. It is, indeed, simpler
in design and less lavish in ornamental detail than those architectural
backgrounds to his windows which Holbein produced when in Basel,
based upon recollections of his visit to Italy. The size of the porch
may be gauged by the entrance-way, which measures 8 feet in height.
Round the three outer doorways runs an interlaced design cut in low
relief, which still retains much of its original colour, the ground a rich
red and the ornament yellow, from which the original gilding has worn
away. In the corners a wreath of fruit and flowers encircles a small
wyvern on a blue background. Above the capitals of the fluted pillars,
and just below the projecting mouldings that divide the upper and
lower portions of the porch, is a broad band filled with a pattern of
intersecting circles, painted on a flat surface in light blue and yellow,
lined and touched with darker blue and red. Probably the whole
surface was originally painted and gilded. In the upper part the double
pillars are repeated, but with rich acanthus capitals. On the three
faces over the openings are panels with the Pembroke coat of arms,
1 Dallaway, notes to Walpole's Anecdotes, ed. Wornum, p. 133.
THE PORCH AT WILTON 269
with a circular medallion on each side, containing heads of men and
women in relief, those on the front being apparently busts of the Earl
and his wife. The vigorous heraldic design supported by the Talbot
dogs and wyverns forms a novel finish to the crown. The interior
has a ribbed and vaulted ceiling, and brackets and other details in
bold relief, including a number of figures on pedestals. It is, of course,
possible that Holbein provided drawings for the building of this porch,
but there is no real evidence of this, and the style of the design does
not suggest his invention. It is much more likely to have been due to
one of Henry's Italians, such as Antonio Toto. " The character of the
whole," says Woltmann, "as is shown especially in the crowning, is
far too feeble for us to think of Holbein as its architect ; and, besides
this, the costume of the half-length figures, introduced in several of
the medallions, shows that the work was executed near the close of
the sixteenth century." x Wornum also calls attention to the late-
ness of the costumes, and says of the porch itself that it displays
" neither taste nor knowledge of the style." He adds : "As for the
Whitehall Gate, it was a mongrel of Gothic and Renaissance quite
unworthy of Holbein, and, I should imagine, an impossible design for
him ; it was similar in general character to the gate of St. James's
Palace, at the bottom of St. James's Street." 2 Waagen says that
the medallions contain busts of Edward VI and the Pembroke family.3
Among the architectural works by Holbein, which, if they were
ever carried out, cannot now be traced, must be placed his very ad-
mirable design in the British Museum for a magnificent chimney-
piece 4 for one of Henry VIII's palaces, in all probability Bridewell.
It is conceived in the finest Renaissance taste, and is covered with
elaborate and beautiful ornamentation. It is in two stages, each
flanked by a pair of fluted pillars carrying richly-decorated entablatures.
The upper part is divided into six divisions, the three higher ones con-
taining the royal arms and motto, and the king's initials and badges,
the portcullis and fleur-de-lis. The central panel of the lower range
represents a battle of horsemen, and the two on either side contain
1 Woltmann, Eng. trans., p. 419. 2 Wornum, pp. 359-60.
3 For drawings of this porch and its various details, and a description of it as it now is, see
an article in the Art Journal, 1897, pp. 45-8, written and illustrated by Mr. G. Fidler.
4 British Museum Catalogue, 16 (vol. i. p. 330). Woltmann, 197. Reproduced by His,
Pis. 48-50 ; Davies, p. 224. The work was probably carried out by Nicolas Bellin, "maker of
his Majesty's chimneys."
27 o DESIGNS FOR JEWELLERY
circular medallions with figures of Charity and Justice, charming
compositions, in which beauty of form is rendered with all that freedom
and life-like accuracy which characterise everything Holbein produced,
even his most hasty sketches. The lower part of the fireplace, over
the open hearth, on which the logs are shown burning across two fire-
dogs, is filled with a semicircular lunette, with a second scene of
horsemen engaged in furious combat, in the centre of which is a
wreathed medallion with figures of Esther and Ahasuerus. In the
spandrels are smaller rounds with the heads of a lady and a helmeted
warrior. On the bases of the pillars on either side are blank tablets
for inscriptions, surrounded by scroll-work. This splendid fireplace
was evidently intended to occupy an important position in one of the
King's buildings, as the frequent occurrence of his initials and the
presence of the royal coat of arms and badges indicate. Peacham,
in his Compleat Gentleman, when speaking of Holbein, says that he has
seen " of his owne draught with a penne, a most curious chimney-peece
K. Henry had bespoke for his new built pallace at Bridewell," and there
is no doubt that this is the drawing to which he referred. It is in pen
and ink, with Indian-ink wash and slight colour, 21^ in. x i6f in.,
and was formerly in the Arundel,1 Richardson, and Walpole collections.
It is possible that Holbein made similar designs for Nonsuch Palace.
In this drawing Mr. Digby Wyatt thought he saw the same designer
as the one who produced the beautiful woodwork of King's College
Chapel, Cambridge. This important work, he says, " I cannot hesi-
tate to believe must have been executed from his designs. ... In
its way it is a model of Renaissance wood-carving, revealing in every
arabesque, and especially in the ornaments of the lunettes, the
peculiarities of classical form as they were first, if I may use the ex-
pression, translated from the Italian into German by Albert Diirer,
Altdorfer, Peter Vischer, and others, including Holbein." 2 The ceil-
ing of the chapel of St. James's Palace has also been attributed to
Holbein, though without any evidence but that of style. This ceiling,
says Wornum, " is a curious work, a panelled Renaissance design,
and tastefully coloured. It was repaired in 1836 by Sir R. Smirke ;
the general ground is blue ; the panellings are defined by ribs of wood
gilt ; there are also ornaments in foliage, painted green ; and there
1 Countess of Arundel's inventory — "Disegno per Ornamento d'un Camino."
2 M. Digby Wyatt, Transactions Royal Institute of British Architects, 1868, p. 233.
MORE CHAPEL IN CHELSEA CHURCH 271
are many coats of arms emblazoned in their proper colours. A small
running open ornament, cast in lead, enriches the under sides of the
ribs. The date 1540 occurs in several places, and various short in-
scriptions are scattered about, as — Henricus Rex 8 — H and A, for
Henry and Anne of Cleves, with a lover's knot between them." 1 His
work in connection with the internal decoration of Whitehall, including
the great fresco in the Privy Chamber and the ceiling in the Matted
Gallery, mentioned by Pepys, has been already described.2
One more work of an architectural nature, attributed to Holbein
by Mr. F. M. Nichols in his paper, to which reference has been already
made, read before the Society of Antiquaries in March 1898, must be
noted. In the design of the two capitals 3 supporting the arch which
divides the chancel of old Chelsea Church from the More Chapel he
" recognised at once the characteristic invention of Holbein." Each
capital is " founded upon the suggestion of a classical capital of the
composite order. But the antique model is treated with a freedom
which would scarcely have commended itself to the taste of an Italian
artist." They are capitals of half columns, there being only a single
arch between the chapel and the chancel, and each capital, like the
pillars, has five sides, as the columns, if completed, would be octagonal.
In the eastern capital the volutes terminate in a projecting human
head, and in each hollow of the abacus above is inserted the winged
head of a cherub. The acanthus-leaf design which covers the lower
part has various objects introduced among the foliage, such as a
shield with More's arms and his crest of a Moor's head, a sword crossed
with a sceptre, a mace, and two ornamented tablets, one of which
bears the date 1528 in Arabic numerals. The western capital is of a
somewhat similar design. Human heads take the place of those of
the cherubs, and the five sides below display various religious emblems
and ornaments, such as crossed candlesticks, a bundle of tapers, a
pail of holy water with sprinkling-brush, a clasped prayer book or
missal, and a blank shield. These objects clearly have reference to
the religious ceremonies in which More was accustomed to take part
in the chapel, while the ornaments on the other capital may have
1 Wornum,p. 309, note. A view of the ceiling is given in Richardson's Architectural Remains
of the Reigns of Elizabeth and James I, 1838, PI. 12.
* See pp. 93-8 and 185-8.
8 Reproduced from photographs in Mr. Nichols' paper, Proceedings Soc. of A ntiq., second
series, vol. xvii. No. 1 (March 1898), pp. 132-45.
272 DESIGNS FOR JEWELLERY
reference to his secular employments. The Holbeinesque character
of the designs, combined with the locality of Chelsea, the association
with Sir Thomas, and the date 1528, during the earlier part of which
year Holbein was still in England, are sufficient, in Mr. Nichols'
opinion, to prove that Holbein was the designer. Mr. Beaver, in his
Memorials of Chelsea, in discussing the authorship of these capitals,
rejects their attribution to Holbein on the ground that they have an
Italian character, and may be more probably ascribed to one of the
Italian artists then employed in this country ; and most architects
who have made a close study of this period are in agreement with him.
" But," says Mr. Nichols, " there are abundant examples in Holbein's
work of his fondness for architectural details of a Renaissance type. . . .
An Italian architect would scarcely have dealt so freely with the just
proportions of the classic capital upon which his design was founded.
And I am inclined to think that there was only one artist in England
at that time who combined the fertility of invention and the graceful
mastery of detail shown in these capitals with the boldness and freedom
with which the classic model is treated." * Mr. Reginald Blomfield is
of opinion that these carvings are of French origin. He says : " The
names of French artists or workmen scarcely ever occur in the State
Papers, and there are few instances of Renaissance work in England
which can be attributed to them. The capitals to the arch between
the More chantry and the chancel of old Chelsea Church are an unusual
instance. They closely resemble French work of the early sixteenth
century such as is found along the banks of the Seine between Paris
and Rouen. The monument in the Oxenbrigge Chapel in Brede
Church, Sussex, dated 1537, is another rare example. It is of Caen
stone, admirably ccrved, and was probably made in France and shipped
to the port of Rye, some nine miles distant from Brede." 2
In the same paper Mr. Nichols also draws attention to a two-light
stained-glass window in the south chapel of the village church of
Shelton in Norfolk, which contains figures of Sir John Shelton and his
wife, Ann, daughter of Sir William Boleyn and aunt to Henry VIII's
second queen, a lady well known about the court, who at one time had
charge of the Princesses Mary and Elizabeth. The work, in Mr.
1 See Nichols, Proceedings Soc. o/Antiq., second series, vol. xvii. No. I, p. 143.
2 Blomfield, History 0/ Renaissance Art in England, 1897, i. 18. In a letter to the present
writer, in 1901, Mr. Blomfield, after his attention had been called to Mr. Nichols' paper, states
that he adheres to his opinion that the Chelsea capitals are of French origin.
HOLBEIN'S DESIGNS FOR JEWELLERS 273
Nichols' opinion, is evidently of foreign origin, being totally different
from the English glass of the same period within a few feet of it, and
the faces and figures being executed more in the manner of a picture
than of stained glass. The foreign origin of the work is shown, among
other indications, by the peculiar treatment of the heraldry, which
has a decidedly German character. Both figures are represented
kneeling, Sir John in a crimson robe lined with fur, and his dame in a
contemporary dress of crimson, with the English angular head-dress.
The heads appear to have been carefully drawn from good portrait-
studies supplied to the glazier. Calculating from the known age and
date of Sir John Shelton's death and his appearance in the window,
Mr. Nichols holds that these portrait-studies must have been made
about 1527, and he is of opinion that Holbein's was the hand which
supplied some foreign glazier with the designs for them. Neither of
the heads, however, is to be found among the Windsor series.
It is when we turn to Holbein's work for jewellers and silversmiths
that the extraordinary fertility and happiness of his invention and the
beauty of his design are seen to the greatest advantage. Some hun-
dreds of his working drawings in this branch of art still exist, the
greater number of which are in the British Museum and at Basel, those
in the latter collection being for the most part contained in a sketch-
book of his later English period ; indeed, most of the drawings which
have survived were produced in England, though he must have carried
out a considerable body of work of the same nature while in Basel.
When he came to London he was already a master of decorative design
as applied to most of the handicrafts, and his influence soon made
itself felt among a number of the craftsmen employed by Henry and
his court. His wonderful skill in the production of fine Renaissance
ornamentation of the purest taste, combined with a happy use of the
human figure, set a fashion in jewellery and personal ornament, and
inspired those who carried out his designs to a greater beauty and
delicacy of workmanship. The impetus he gave was in the direction
of fresh models of beautiful form in place of the mannerisms of Gothic
art into which the decorative crafts had sunk in this country at the
period of his first arrival in England. Even at so early an age he
already possessed, in addition to his skill in painting and drawing
and book illustration, a thorough knowledge of the rules of com-
position and design according to the best Italian traditions, and was
vol. 11. s
274 DESIGNS FOR JEWELLERY
well versed in the use of the forms and proportions of classical archi-
tecture and ornament, in addition to possessing practical skill in the
true application of design to the various art crafts and industries.
Holbein's most elaborate design for goldsmiths' work which has
survived is the one known as the Jane Seymour Cup, which was evi-
dently made to the order of the King at about the time of his marriage
with that lady in 1536. Two drawings for this exist in pen and ink, the
more highly-finished one, which is washed with colour and gold, being
in the Bodleian Library, Oxford,1 and the other in the British Museum,2
the latter (PL 41), which is 17I in. xo,| in., showing slight modifica-
tions. The cup is a covered one, of a very beautiful shape, the lines of
which are not disguised or confused by the lavish ornamentation with
which it is covered. The body is set with four circular medallions
containing busts of " antique heads " in high relief, the one facing the
spectator being a woman with bared breast. Above them is a deep band
of exceptionally beautiful interlacing ornament of floriated design ;
and below a smaller band with the initials of Henry and his Queen,
entwined with true-lovers' knots, alternating with square-cut precious
stones set as flowers, and similar bands of precious stones at the base,
and round the rim of the cover. The stem is decorated with hanging
pearls and dolphins, cupids' heads, and wreaths, and a narrow band
containing the motto of the Queen, " Bound to Obey and Serve,"
which is repeated on the cover. The latter is of very light and grace-
ful design, with two grotesque figures terminating in fish-tails blowing
foliated trumpets, and above them two cupids supporting a shield
surmounted by the royal crown. When carried out in gold the general
effect must have been one of extraordinary richness and beauty.
That it was so completed is proved by the fact that the cup itself was
still in the royal collection at the accession of Charles I in 1625. In
an inventory of that date it is thus described : " Item a faire standing
Cupp of Goulde, garnished about the cover with eleaven Dyamonds,
and two poynted Dyamonds about the Cupp, seaventeene Table Dya-
monds and one Pearle Pendent uppon the Cupp, with theis words
bovnd to obey and serve, and H and I knitt together ; in the
Topp of the Cover the Queenes Armes, an Queene Janes Armes houlden
by twoe Boyes under a Crowne Imperiall, weighing Threescore and
1 Woltmann, 222. Reproduced by His, PI. xlv.
2 Brit. Mus. Catg., 18. Reproduced by Davies, p. 204 ; Ganz, Hdz. vonH.H. dem Jung., PI. 47.
ij, aiAJ0! «.H ioV
41 ' K'*
I
Vol. II., Plate 41
QUEEN JANE SEYMOUR'S CUP
Pen and ink drawing
■5
British Museum
DESIGNS FOR CUPS AND GOBLETS 275
five ounces and a halfe." No further traces of this masterpiece of
the goldsmith's art exist. In spite of its beauty, it was most
probably melted down, like much of the royal plate, to meet the
demands of an impoverished exchequer. It is, indeed, a matter
of the keenest regret that, in spite of the hundreds of designs with
which Holbein furnished the London goldsmiths or the Basel
armourers, not a single example of work so carried out remains, and
his achievements in this branch of art can only be judged from his
working drawings.
His designs for cups with covers, goblets, tankards, and other
table vessels, which from the richness of their ornament were evidently
intended for ceremonious occasions, are numerous. Some of them are
only known through Hollar's etchings, while the drawings for the
remainder are for the most part in the Basel Gallery. The most
interesting of them is the standing cup and cover in the Basel sketch-
book, which Holbein designed for his friend Hans von Antwerp (PL 42). x
which may have been intended by the latter as an addition to the
collection of plate in the guild-hall of the Steelyard merchants. The
left-hand half has been drawn with the pen, from which the other half
has been transferred by damping and pressure. The broad, flat body
has a deep band of ornament containing nude figures blowing trumpets
amid foliage, and a somewhat similar band round the base, and
on the crest of the cover is the nude figure of Truth holding a book
and a lighted torch. By the side is an alternative design for this
figure. Round the rim of the cover is inscribed hans von ant[werpen] .
Another cup and cover, or table ornament, with a wide stand, of which
only the left side is shown, though much more hasty in execution, is
a more highly elaborated piece of decoration, in which small nude
standing figures are combined with leafage and festoons.2 On the
side of the sheet are a number of alternative sketches for various de-
tails. There is no need to describe at length the other designs for
covered cups in the Basel Gallery, one of which is surmounted by the
nude figure of a woman with right arm extended and the left hand
resting on a shield ; 3 while a second design has a figure of Justice,
and on the base a medallion with the bust of a lady in sixteenth-century
1 Woltmann, no (104). Reproduced by His, PI. xxvii. 1. See Vol. ii. p. 11.
2 Woltmann, no (99). Reproduced by His, PI. xxxi. 2.
3 Woltmann, 109. Reproduced by His, PI. xxvi. 2.
276 DESIGNS FOR JEWELLERY
costume.1 Several studies for tankards are to be found among Hollar's
etchings. These etchings indicate the existence at one time of
a third sketch-book or set of designs, which, at the time when Hollar
worked from it, was in the possession of the Earl of Arundel, but has
since disappeared.
One of the most important of Holbein's designs in the British
Museum is the large drawing in pen and ink and Indian-ink wash, of
an astronomical clock, which was formerly in the Mariette and Horace
Walpole collections (PI. 43) .2 This clock, the design for which must
have been one of Holbein's last undertakings, was presented to Henry
VIII by Sir Anthony Denny on New Year's Day, 1544, shortly after the
painter's death. It consists of an hour-glass enclosed within a case,
the doors of which stand open in the drawing, with a terminal figure
of a satyr in the centre, which recalls the very similar figure in the
full-length woodcut portrait of Erasmus. The hour-glass rests on a
pedestal with legs, supported at the corners with other terminal
figures of satyrs, and having a circular space in the centre left blank
in the drawing. On the decorated crown of the case stand two nude
boys — for which there is an alternative design in the British Museum
on one of the leaves of the Sloane sketch-book 3 — each pointing to a
sundial of metal curved outwards in an arc, for which their fingers
serve as gnomon. On their heads rests a mechanical clock with a
sun-face in the centre of the dial with fiery locks, one of which forms
the pointer, the whole surmounted by a crown. On the left side of
the sheet is a compass, probably intended to fit inside the clock-case.
The drawing is inscribed, in Sir Anthony Denny's own handwriting :
" Strena facta pro anthony deny camerario regio quod in initio novi
anni 1544 regi dedit." He was then King's Chamberlain, and was
knighted in the September of the year in which he made his royal
master this handsome gift. Other notes occur on the drawing, here
and there illegible, made evidently for the guidance of the craftsman
who carried out Holbein's design, which is simpler, though no less
characteristic in style, than his drawing for Queen Jane Seymour's
gold cup.
His designs for sword and dagger hilts, sheaths, and various orna-
1 Woltmann, no (ioo). Reproduced by His, PI. xxvi. 3 ; Ganz, Hdz. Schwz. Mstr., i. 12.
2 Brit. Mus. Catg., 17. Woltmann, 193. Reproduced by His, PI. xlvii. ; Ganz, Hdz. von.
H. H. dem Jiing., PI. 48.
3 Brit. Mus. Catg., 22 (a) ; Woltmann, 194. Reproduced by His, PI. xlvi.
2^ stajT ,11 ..joV
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Vol. II., Plate 42
Pen and wash drawing
Basel Gallery
HANS OF ANTWERP'S CUP
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Vol. II., Plate 43
SIR ANTHONY DENNY'S CLOCK
Indian ink wash and pen drawing
British Museum
DESIGNS FOR SHEATHS AND HILTS 277
ments for sword-belts and weapons are numerous, and again display
his extraordinary fertility of invention and his power of combining
the human figure with conventional floral and grotesque Renaissance
ornament into a decorative whole of the utmost elegance and beauty.
One of the finest, and most elaborate, is the large pen-and-wash draw-
ing, 17! in. X4§ in., in the British Museum, which was purchased in
1874 from the Earl of Wicklow's collection (PL 44). 1 The handle has
spiral bands set with stones, and numerous pearls are also set in the
sheath, the hilt, and the guard. These gems are held or supported by a
number of nude figures of women, old men, satyrs, and children amid
foliage, each one full of individual character, and drawn as only Hol-
bein could draw them. It was evidently intended for execution in
chiselled gold or silver, and produces an effect of great splendour. Only
the right half of the sheath is drawn, as the design was to be re-
peated on the other side. There is an alternative design for parts of
the hilt in the Basel Gallery.2 In the latter collection there is also a
study for the sheath of a short sword or cutlass in which a some-
what similar arrangement has been carried out.3 It is an offset taken
by Holbein from a pen-and-ink drawing. Another of the Basel de-
signs is for a powder-flask, possibly to be executed in bone or ivory, in
which naked cupids are intermingled with the foliage.4
There is a splendid design for a dagger-sheath in the Bernburg
Ducal Library, which is divided into four compartments, the three
upper ones containing figures in settings of Renaissance architecture.5
In the uppermost is a group representing the Judgment of Paris. The
youth, in sixteenth-century costume, reclines with his back against a
pillar with Mercury bending over him and offering him the apple,
the three goddesses standing in front of him, and Cupid aiming at him
with a bow and arrow. The next division shows the deaths of Pyramus,
a cleverly foreshortened figure beneath a fountain, and Thisbe, who is
stabbing herself by his body. Below is Venus within a scalloped niche,
with the long ass's ears of a jester, and a blindfolded cupid at her feet.
The lowest compartment contains scroll-work, the whole terminating
in a cherub's head within volutes, with the initial H. at the bottom.
1 Brit. Mus. Catg., 19. Reproduced by His, PI. xxix. ; Davies, p. 206.
2 Woltmann, no (97). Reproduced by His, PI. xxx. 3.
3 Woltmann, no (28). Reproduced by His, PI. xxxi. 1.
4 Reproduced by His, xxxi. 3.
5 Woltmann, 124. Reproduced by Woltmann, i. p. 434.
278 DESIGNS FOR JEWELLERY
There is a slighter preliminary pen study for this sheath in the Basel
Gallery, which shows a number of differences (PL 45 (3)).1 Another
dagger-sheath at Basel is of particular interest because it is dated
1529,2 and so must have been drawn in Basel after Holbein's return
from his first visit to England (PL 45 (1)). The design consists
entirely of conventional foliage, seen against a black background, as
though to be executed in chiselled open-work over some black material
such as velvet, or to be filled in with niello. There are other sheaths
in which the subject stands out against a plain black background,
one, in Berlin, with a Dance of Death,3 of which there is a repetition at
Basel (PL 46 (i)),4 which appears to be an impression taken from the
Berlin drawing, strengthened and finished with Indian ink, by some
other hand than Holbein's ; and another in the British Museum, with
a Triumph of Bellona,5 of which only the sheath is by him. The hilt
is obviously the work of some other designer, in all probability, ac-
cording to the British Museum catalogue, Peter Flotner of Nuremberg.
It was formerly in the Beckford Collection, and consists of two pieces
of paper joined together, the hilt on one and the sheath on the other.
Another sheath in the Basel Gallery is decorated with a Roman
Triumph (PL 46 (2)),6 slightly drawn, in the manner of Mantegna,
recalling the frieze in the 15 17 portrait of Benedikt von Hertenstein ;
and a second of a like quality, representing Joshua's Passage of the
Jordan (PL 46 (3)).7 Other designs for the knobs and cross-pieces
of dagger-hilts will be found in the British Museum (PL 47).
The sketch-book bequeathed to the British Museum by Sir Hans
Sloane in 1753 contains nearly two hundred drawings, almost all of
them designs for jewellery and other small objects for personal use
or adornment, such as belt tassels and buckles, book covers with rings
for attachment to girdles, seals, portable sundials, pendants and
brooches. Henry VIII was lavish in his use of jewellery, and the
fashion he set was slavishly followed by his courtiers. Dresses were
loaded with gems and elaborate specimens of the goldsmith's art,
1 Woltmann, 60. Reproduced by His, PI. xxiii. 3 ; Ganz, Hdz. von H. H. dem J ting., PI. 40.
8 Woltmann, 56. Reproduced by His, PI. xxiii. 2; Knackfuss, fig. 108.
3 Woltmann, 123 (Bauakademie-Beuth-Schinkel Museum).
* Woltmann, 57. Reproduced by His, PI. xxi. 3; Knackfuss, fig. 109.
6 Brit. Mus. Catg., 39. Woltmann, 196. Reproduced by Davies, p. 206.
6 Woltmann, 58. Reproduced by His, PI. xxi. 1 ; Ganz, Hdz. Schw. Mstr., i. 41 (a).
7 Woltmann, 59. Reproduced by Ganz, Hdz. Schwz. Mstr., i. 41 (6).
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Vol. II., Plate 44
DESIGN FOR DAGGER HILT AND SHEATH
Pen and ink and Indian ink wash drawing
British Museum
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Vol. II., Plate 45
DAGGER SHEATH
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Basel Gallery
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Vol. II., Plate 47
DESIGNS FOR DAGGER HILTS
t. B.M. 20 (6) 3- B.M. 20 (a)
2. B.M. 20 (c)
4. B.M. 20 («) 5- B.M. 20 (rf)
British Museum
DESIGNS FOR PENDANTS AND JEWELS 279
and this delight in finery was carried to such an extent that it was a
topic for jest and sarcasm among foreigners. More than one contem-
porary account gives details of the King's costume and the many jewels
which adorned it, and the long inventories of his clothes and personal
ornaments which still exist prove that continental visitors to his
court did not exaggerate in the descriptions of his person which they
sent home. French and Italian jewellers paid frequent visits to London,
and sold him many gems and beautiful specimens of gold and silver
work and other art objects, while he regularly employed a large number
of English and resident foreign jewellers. Their services were most
in demand about New Year's Day, when gifts were showered upon
his Majesty, and he in return made many presents, often of great
value. There is no doubt that some of these gifts were designed by
Holbein, and that he served as designer to several of the leading
London goldsmiths. The British Museum Collection contains many
designs for pendants and for jewels which were suspended round the
neck by a ribbon or chain, this attachment being shown in a number
of the studies (PI. 48). In most of them table diamonds and other
flat stones, together with pearls, are arranged in geometric patterns, the
interstices being filled with strap, scroll, or ribbon-work, or some con-
ventional floral design. Occasionally at the top of the jewel there is
a small grotesque or nude figure (PI. 49). Many of the designs have a
black ground indicating niello or champleve enamel. In some instances,
however, the blackening may have been done merely to indicate the
design more clearly to the craftsman who was to carry it out. Some
of them are coloured and are often touched with gold, so that it is
possible to tell the jewels and materials it was intended to use.
Several pendants are in the shape of a cross, and others heart-shaped ;
one of the latter is of gold, with three pendant pearls, and two doves
billing on a green bough in enamel, with the motto, tvrtvrvm Con-
cordia (PI. 48 (3)).1 Another shows the bust of a woman in Tudor
dress holding between her hands a large table-cut stone, across which is
written, apparently in another hand, " Well Laydi Well " (PI. 49 (g)).2
Several pendants are in the form of monograms, a very fine one con-
sisting of the letters R. and E. in gold, with two rubies, an emerald,
and a garnet at the four corners, hung by a ribbon above and with
1 Brit. Mus. Catg., 27 (&). Woltmann, 199 (30). Reproduced by His, PI. xliii.
2 Brit. Mus. Catg., 28 (a). Reproduced by His, PI. xli.
280 DESIGNS FOR JEWELLERY
three pearls below (PI. 48 (7)) ; 1 many of the designs, in fact, show
one or more pearls suspended in this fashion. A jewel very similar
to the last-named, formed of the sacred monogram, is worn by Jane
Seymour in her portrait at Vienna. Another pendant monogram, with
the initials H and I and an emerald in the centre (PI. 48 (6)), was
evidently designed for the King and his third Queen.2 Several of them
have mottoes, such as qvam accipere dare mvlto beativs (PI. 49 (7))?
Or PRVDENTEMENT ET PAR COMPAS INCONTINENT VIENDRAS,4 the latter
on a round device of two horns of plenty, two dolphins and a pair of
compasses with serpents writhing round them (PI. 50 (8)). Among the
brooches there is one consisting of three diamonds en wreathed by a
scroll, on which is inscribed, Mi Ladi Prinsis, and the same motto
occurs on a second.5
There are two designs for book bindings with rings for suspension,
no doubt covers for a prayer book. They are decorated with metal
and enamel in arabesque patterns, and one of them has the initials
T.W. in the centre, which are repeated in the corners, T.W. above and
W.T. below.6 On the second the same initials are combined with
an I,7 and in both cases it is probable that they were intended for Sir
Thomas Wyat. Two very similar designs appear to be for a jewel-
case, or perhaps a portable reliquary.8 There is also an interesting
drawing of a seal with the coat of arms of Charles Brandon, Duke of
Suffolk, within the garter and its motto, and around the whole a
circular band inscribed carolvs dvx svffycie pro honore svo
richemond (PI. 50 (4)).9 Among the remaining studies are various
devices, coats of arms, including Holbein's own (PL 50 (6)), book
clasps, bracelets, chains (PL 51 (3, 4, and 5)), collars, rings, a number
of mongrams (PL 48 (1)), some of them containing as many as eleven
letters, probably concealing a complete name or the initials of the words
of some device, grotesque figures, winged warriors, nude women, and
satyrs — the latter in some cases certainly intended for the foot of a
1 Brit. Mus. Catg., 27 (e). Reproduced by His, PI. xliii.
2 Brit. Mus. Catg., 27 (/). Reproduced by His, PI. xliii.
3 Brit. Mus. Catg., 28 (/). Reproduced by His, PI. xli.
* Brit. Mus. Catg., 29 (i). Reproduced by His, PI. xl.
5 Brit. Mus. Catg., 30 (a and b). Reproduced by His, PI. xxxiv.
6 Brit. Mus. Catg., 31 (£>). Woltmann, 191. Reproduced by His, PI. xliv. ; Davies, p. 226.
' Brit. Mus. Catg., 31 (a). Woltmann, 191. Reproduced by His, PI. xliv. ; Davies, p. 226.
8 Brit. Mus. Catg., 31 (c and d). Reproduced by His, PI. xliv. ; Davies, p. 226.
' Brit. Mus. Catg., 29 (a) ; Woltmann, 199 (44). Reproduced by His, PI. xl.
5* at/.j*? t.II
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Vol II., Plate 48
DESIGNS FOR PENDANTS AND ORNAMENTS
1. P.M. 33 (/) 2. B.M. 33 (g)
3. B.M. 27 (b) 4. B.M. 27 (a) 5. B.M. 27 (c)
6. B.M. 27 (/) 7. B.M. 27 (e) 8. B.M. 27 (a)
British Museum
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Vol. II., Plate 49
DESIGNS FOR PENDANTS
1. B.M. 28 (m) 2. B.M. 28 (g) 3. B.M. 28 (e)
4. B.M. 28 (k) 5. B.M. 28 (/) 6. B.M. 28 (/)
7. B.M. 28 (/) 8. B.M. 28 (d) 9. B.M. 28 (a)
British Museum
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Vol. II., Plate 50
DESIGNS FOR MEDALLIONS OR ENSEIGNES
r. B.M. 35 (J) 2. B.M. 35 to 3- B.M. 35 (c)
4. B.M. 29 (a) 5. B.M. 29 (/) 6. B.M. 29 (e)
7. B.M. 29 (£) 8. B.M. 29 (1) 9. B.M. 29 (^)
British Museum
' Sh''": "l-1"''
DESIGNS FOR MEDALLIONS 281
vase, box, or salt-cellar, or some such table ware — together with a
variety of ornaments for which the exact purpose is not indicated.
These last are largely fragments of circular borders or segments of
discs, decorated with arabesques on enamel (PI. 52). In some of
these designs for enamel the pattern is in white on a ground of blue and
red or blue and black.
Among the designs at Basel is a very charming and humorous
upright band or panel, for goldsmith's work (PL 45 (2)),1 in which
eight bears are shown climbing among the leaves of a vine accom-
panied by a little man with a high peaked cap blowing a trumpet and
beating a drum, a design no doubt suggested to Holbein by the sight
of some travelling showman with a troupe of performing animals.
Two other bands of ornament in the Basel Gallery, in which the design
is arranged horizontally, represent in one case a humorous frieze with
nude children,2 and in the other similar children with dogs hunting
a hare, chasing one another, and blowing horns (PI. 51 (1 and 2)).3
The latter is a carefully-finished drawing, in which the small figures
are arranged with great decorative effect among curved Renaissance
ornamentation of conventional floriated design. In the same col-
lection there are several elaborately decorated mirror-frames.
There remains one particular form of personal ornament for which
Holbein's services as designer were in constant demand. This was
the circular medallion or enseigne worn on the hat, and also, in the
case of ladies, as a pendant at the end of a chain or ribbon, or in the
shape of a brooch fastened to the front of the dress. They usually
bore some figure-subject, the earlier examples being, as a rule, religious,
with figures or emblems of saints or scenes from the Scriptures. In
course of time subjects taken from classical story or mediaeval legend
were used, and designs of a fanciful and allegorical nature. They
became highly popular forms of personal adornment, and French and
Italian jewellers brought numbers of them over to London. " Every
one, from the highest rank downwards," says Mr. H. Clifford Smith,
" had his personal devise or impresa, or more often a series of them.
It was worn as an emblem — an ingenious expression of some conceit
of the wearer, the outcome of his peculiar frame of mind. It usually
1 Woltmann, 54. Reproduced by His, PI. xxii. 2 ; Knackfuss, fig. in.
2 Woltmann, 61.
8 Woltmann, 55. Reproduced by His, PI. xxv. 4 ; Knackfuss, fig. no.
282 DESIGNS FOR JEWELLERY
contained some obscure meaning, the sense of which, half hidden and
half revealed, was intended to afford some play for the ingenuity of
the observer. The love of the time for expressing things by riddles
led to the publication of sets of emblems, like those of Alciatus, which
had imitations in all directions. Every one, in fact, tried his hand at
these ' toys of the imagination.' " x
That these hat-badges and brooches were worn by almost every
one at Henry's court is shown by their representation in many of
Holbein's pictures and in a large number of the Windsor drawings.
In the latter, unfortunately, the subjects are so slightly indicated
that it is impossible in most cases to make them out. They are to be
found almost invariably in the portraits of courtiers, the learned
doctors and the more soberly-attired German merchants not using
them. Those worn by the more wealthy were generally of gold, with
the design in repousse work, frequently enamelled in colours, and
often with precious stones set in them. They were, as a rule, surrounded
by a border or framework of similar workmanship, sometimes set with
jewels. Some of them were fastened with a pin, like a brooch, others
had loops or small holes round the edges so that they could be sewn
to the hat. Henry VIII possessed a large collection of these orna-
ments. In a list dated 1526 there is mentioned, among many others,
a crimson velvet bonnet, double turfed, with a brooch of St. Michael
set with diamonds, and a white rose on one side and a red rose on the
other ; and another of a buttoned cap of black velvet with a diamond
and a brooch of Paris work of St. James. Other hats had brooches
representing " three men and a pearl in the back of one of them " ;
a lady leading a brace of greyhounds ; Venus and Cupids ; a lady hold-
ing a heart in her hand ; another lady holding a crown ; another with
a cameo head and a hanging pearl ; "a man standing on a faggot of
fire " ; "a handful of feathers " ; "a gentleman in a lady's lap " ;
and St. George, Hercules, and so on.2 In another list, two years later
in date, there is mentioned " a brooch with a gentlewoman luting,
with a scripture over it." 3 Occasionally these enseignes are described
as " valentines of goldsmith's work." Most of the King's hats were
also lavishly decorated with gold aglets.
1 H. Clifford Smith, Jewellery, The Connoisseur's Library, 1908, p. 223.
2 C.L.P., vol. iv. pt. i. 1907.
3 C.L.P., vol. iv. pt. ii. 51 14. See vol. i. p. 357.
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DESIGNS FOR ARABESQUE ENAMEL ORNAMENTS
British Museum
DESIGNS FOR MEDALLIONS 283
None of the jewels included in these earlier lists can have been
designed by Holbein ; but after he became attached to the court he
appears to have been constantly employed in this way, and it became,
no doubt, the fashion to wear an enseigne or medallion of his devising.
Among his drawings, in the British Museum, at Basel, and at
Chatsworth, there are a number of small circular designs with figure-
subjects which were evidently intended for such purposes. Unfor-
tunately, only in one single case has a design been found among his
sketches which corresponds with the gold-and-enamel badge worn by
the sitter in one of his finished pictures — the beautiful little drawing
of " Lot and his Daughters " in the British Museum (PI. 50 (2)), which,
as recently pointed out by Mr. Lionel Cust, was the design for the
medallion shown in the portrait of Catherine Howard.1 Very possibly
some of the other enseignes or pendant roundels represented in his
portraits were of his own devising, but they are painted on so small a
scale that the subjects upon them are difficult to decipher.
The medallion of " Lot and his Daughters " forms one of a numer-
ous series of roundels, usually about 2| in. in diameter, with subjects
taken from the Old Testament, the greater number of which are in
the Basel sketch-book. Among the latter are three different studies
on one sheet for the subject of Hagar and Ishmael in the, Wilderness,2
and a fourth with Sarah giving Hagar to her husband ; 3 the Sacrifice
of Cain and Abel ; 4 Jacob embracing Rachel ; 5 Jacob causing the
stone to be removed from the well for Rachel,6 a very beautiful little
drawing with an interesting group of buildings in the background ;
David and the Woman of Tekoah kneeling before him ; 7 the Sacrifice
of Elijah, in which a jewel is inset to depict the fire on the altar ; 8
and Moses and the destruction of Korah and his company.9 This
last is set within an open-work border with mermaids and cupids
amid scroll-work. Several other subjects from the Old Testament,
such as Judah and Tamar, and David playing before Saul, are to be
found among the engravings made by Wenceslaus Hollar from draw-
ings by Holbein, now lost, when in the Arundel Collection. Among
1 See pp. 195-6. 2 Woltmann, no (37-43). Reproduced by Ganz, Hdz. Schwz. Msfr., ii. 5.
3 Woltmann, no (67). Reproduced by Ganz, Hdz. von H. H. dent Jung., PI. 45.
4 Woltmann, no (71). s Woltmann, no (68).
6 Woltmann, no (76). Reproduced by Ganz, Hdz. von H. H. dem Jung.. PI. 45.
7 Woltmann, 110(70). 8 Woltmann, 110(63,65).
9 Woltmann, no (77). Reproduced by Ganz, Hdz. von H. H. demjung., PI. 42.
284 DESIGNS FOR JEWELLERY
the subjects from the New Testament at Basel are the Baptism of
Christ,1 the Last Judgment,2 and the Repentant Magdalen.3 Two
designs of the Archangel Michael slaying the Dragon are for the badge
accompanying a chain of the order of St. Michael, and may have been
drawn from the badge belonging to Dinteville.4 Another represents
the kneeling figures of a young couple in English dress holding a cup
with a heart over it, evidently for " a valentine of goldsmith's work." 5
Among the unknown subjects is one in which a nude man is standing
upon a prostrate knight, who with one hand shatters Cupid's bow and
with the other breaks the fallen man's sword ; 6 one which repeats
one of the subjects of the Basel Town Hall wall-paintings — the blind-
ing of Zaleucus ; 7 and others representing Juno and Callisto, Pomona,
Leucothea on a dolphin, and two Centaurs.8
The subjects of similar medallions in the British Museum include
one of the Annunciation,9 with the legend " origo mvndi melioris "
round it, with a border of daisies in yellow and green enamel ; one of
the Trinity,10 with the legend " trinitatis gloria satiabimvr "
(PI. 50 (5)), and a border of roses in enamel, both of which are in pen
and ink washed with water-colours ; and a third with a standing
figure of St. John the Baptist (PI. 50 (3)).11 Yet another depicts Time
extracting Truth from the Rock (PL 50 (i)),12 also with a Latin quota-
tion round the edge, and a second, with the motto, " prvdentement
et par compas incontinent viendras," already described.13 Further
designs for enseignes contain such subjects as a sleeping boy lying
under a fountain, which jets its water upon him (PI. 50 (9)) ; 14 and a
woman in flames, with her father and mother lamenting over her,
which is said by Woltmann to represent Dido on the funeral
pyre.15 Among other roundels, two contain Holbein's own coat
of arms (PI. 50 (6)),16 and two others a device with a hand issuing
from a cloud and resting on a book which lies on a rock, and
I Woltmann, no (73). 2 Woltmann, no (75). 3 Woltmann, no (55, 56).
4 Woltmann, 110(64). 5 Woltmann, 110(88). 6 Woltmann, 110(62).
7 Woltmann, no (61). 8 Woltmann, no (53, 74, 81, 83).
9 Brit. Mus. Catg., 29 {k). Woltmann, 199 (19). Reproduced by His, PI. xl.
10 Brit. Mus. Catg., 29 (/). Woltmann, 199 (13). Reproduced by His, PI. xl.
II Brit. Mus. Catg., 35 \c). 12 Brit. Mus. Catg., 35 (d).
13 Brit. Mus. Catg., 29 (/). Reproduced by His, PI. xl.
14 Brit. Mus. Catg., 29 {g). Reproduced by His, PI. xl.
,5 Brit. Mus. Catg., 29 (h). Woltmann, 199 (15). Reproduced by His, PI. xl.
Brit. Mus. Catg., 29 (e, /). Woltmann, 199 (42). Reproduced by His, PI. xl.
10
DESIGNS FOR MEDALLIONS 285
the Italian motto, " servar' voglio qvel che ho gvirato "
(PI- 50 (7))-1
At Chatsworth there is a sheet of drawings containing six enseignes
and one larger design which appears to be for some kind of a sheath.2
They are among the very finest examples of Holbein's work in this
field, drawn with the greatest delicacy, and admirable in composition.
They represent (1) Hagar and Ishmael (PL 53 (2)), a variant of the
Basel design, in which the angel is flying towards Hagar, who is seated
under a tree, with the naked infant asleep under a bush, and on a
scroll the names " Hagar " and " Ismael " ; (2) The Last Judgment
(PI. 53 (3)), with Christ seated on clouds, and men and women kneeling
below, with figures struggling out of graves, and on one side the yawn-
ing mouth of a dragon representing hell ; (3) Icarus falling into the
sea (PL 53 (1)), his wings melted by the sun, and Phoebus driving his
chariot drawn by four winged horses through the sky ; (4) Diana and
Actaeon (PL 53 (5)), with four nude women standing in water on the
left, and Actaeon on the bank already turning into a stag, with his
dogs attacking him, and others rushing through the wood in the back-
ground ; (5) three beehives on a wooden stand under a roof of rushes
(PL 53 (6)), with Cupid, blindfolded, his bow on the ground, holding
up his hands as though stung by the bees which are flying round him, and
below a shield for a coat of arms, coloured blue, and the motto, " nocet
empta dolore volupta," on a ribbon scroll, the whole surrounded
by a band of conventional scroll pattern ; (6) a man in sixteenth-
century costume, with folded arms, asleep on the grass, under an oak
tree on a rocky piece of ground (PL 53 (7)). On the right is a large
clock with hanging weights, the hands pointing to twelve o'clock, and
the figure of a small child pulling the rope of the hammer which strikes
the bell. Round the trunk of the tree is a scroll with the legend
" aspetto la hora " (I await the hour). This is possibly the design
for a watch-back. These medallions are in pen and bistre, with
touches of red in some of the figures, and green here and there in trees
or grass. The remaining design seems to be for a short, broad sheath,
but not, apparently, for a weapon (PL 53 (4)). It represents the Rape
of Helen, who stands on the seashore, seized by the arms by two men,
1 Brit. Mus. Catg., 29 (b, c). Woltmann, 199 (22). Reproduced by His, PI. xl.
2 Woltmann, 131-7. All reproduced by S. Arthur Strong, in his Drawings by Old Masters
at Chatsworth, and in Critical Studies and Fragments, PI. xviii. p. 132 ; and in Burlington
Magazine, vol. i. No. hi., May 1903, frontispiece.
286 DESIGNS FOR JEWELLERY
one wearing a helmet. A boat containing figures — some of them
waving their hands — is coming towards them over the water. There
are some buildings on the left, and at the bottom, in the foreground,
two nude figures with long spades digging in the sand. The leg of
one of these two figures projects beyond the boundary- line of the
sheath, showing that the design was not intended for a flat ornament,
but was to be continued on both sides of the object.1
The wide range of subject shown in these badges affords re-
markable proof of the fertility of Holbein's invention. The great
number of them, too, indicates that he must have found regular and
lucrative employment in work for the London jewellers and gold-
smiths. Possibly those which remain formed only a small part of his
total output. It has been suggested, indeed, that none of the studies
which have survived were actually carried out as ornaments, but were
rather designs either rejected by the goldsmith or the patron for whom
Holbein was working, or were merely drawn by the artist as part of
his stock-in-trade, from which clients could make their selection.2
This supposition is based on the fact that the drawings have always
been carefully preserved in the original sketch-books, and bear no
traces of having undergone the rough usage of a goldsmith's work-
shop. It does not seem at all probable, however, that this was the
case ; it is, indeed, absurd to suppose that these designs, several hun-
dreds in number, and many of them of the greatest beauty, could have
been rejected as not good enough by those for whom they were pre-
pared. It has been seen that the design for the medallion with the
subject of Lot and his Daughters was actually carried out for the
adornment of Catherine Howard, to say nothing of those larger draw-
ings for the Jane Seymour Cup and the Denny astronomical clock,
which, in any case, cannot have been rejected designs. A much
simpler explanation is that Holbein kept his original designs by him
for future reference, and made other versions or copies, possibly
sometimes more elaborate in detail, for the use of the craftsmen who
carried them out.
With the exception of the cup designed for Hans of Antwerp,
1 In the Burlington Magazine (vol. i. No. iii., May 1903, p. 354) some doubt is thrown
upon the correctness of the attribution of the Chatsworth roundels to Holbein, but in every
touch his handiwork is unmistakable.
2 See R. E. D. Sketchley, " Holbein as Goldsmith's Designer," in Art Journal, June 1910,
p. 175.
'1 J
Vol. II., Plate 53
DESIGNS FOR MEDALLIONS, ETC.
1. ICARUS 2. HAGAR AND ISHMAEL
3. THE LAST JUDGMENT 4. THE RAPE OF HELEN
5. DIANA AND ACTION 6. CUPID AND BEES
7. "I AWAIT THE HOUR"
Duke of Devonshire's Collection
Chatsworth
THE KING'S JEWELLERS 287
which shows that the two men worked together, it is impossible to
connect Holbein's name directly with that of any one of the many
goldsmiths who served the court ; but it is probable that he was em-
ployed by at least several of them, and almost certainly by Cornells
Hayes. There were an extraordinary number of such craftsmen, both
native and foreign, in London at that period, and many others, more
particularly Frenchmen and Italians, who paid periodical visits to
England in order to sell works of art and jewels to the King and the
nobility.
The leading London jeweller of the earlier part of Henry's reign was
Robert Amadas, of Lombard Street, an alderman, who in 1526 was
appointed Master of the Jewel House, a post which he held until his
death in 1532, when he was succeeded by Thomas Cromwell. Other lead-
ing goldsmiths were Alderman Sir John Mundy, appointed justice to
the merchants of the Steelyard in 1525,1 Alderman Robert Fenrother,
Gerard Hughes, Robert Lord, Nicholas and Henry Wooley, Thomas
Trappes, William Holland, John Twiselton, John van Utricke, and
Henry Holtesweller. Large sums were spent in New Year's gifts,
the King both giving and receiving many very valuable presents.
Thus in 1520 £1208, 17s. 6d. was paid to Amadas, Twiselton, and
Holland for supplying such gifts, and in 1521 no less than £1679,
15s. iod., while smaller sums were received by other goldsmiths.2 There
was also constant demand for gold and silver plate for presentation
to foreign ambassadors and envoys, and for christening presents for
the children of the King's favourites. Amadas supplied many of
these, as well as seals, jewels, spangles and other ornaments for the
jackets of the King's Guards, silver bells, bosses, and nails for his
Majesty's use, and many other articles which need not be specified.
Amadas was dead before Holbein became attached to the court, and
it is not at all likely that the latter designed for him. He must, how-
ever, have been well acquainted with the Dutchman, Cornells Hayes,
or Heyes, who became a naturalised Englishman in January 1523,3
and was afterwards one of the most regularly employed of the gold-
smiths specially appointed to the King's service. He received licence
to keep six alien apprentices and twelve journeymen, notwithstanding
1 C.L.P., vol. iv. pt. i. 1298.
2 C.L.P., vol, iii. pt. ii. pp. 1539, 1544 (King's Book of Payments).
3 C.L.P., vol. iii. pt. ii. 2807 (28).
288 DESIGNS FOR JEWELLERY
the statute of 14 & 15 Hen. VIII.1 He supplied many jewels for Anne
Boleyn, including " a diamond in a brooch of our Lady of Boulogne,"
and was employed, after Wolsey's downfall, to remove the coat of
arms from the Cardinal's plate and place thereon the royal arms instead.
He was also frequently occupied in repairing and altering the royal
jewels and badges. His possible co-operation with Holbein, in 1534,
in connection with the making of a silver cradle and figures of Adam
and Eve has been already mentioned,2 and also that the piece of plate
given to Holbein by the King in return for the portrait of Prince
Edward was made by Hayes.3 Holbein and Hayes had a common
friend in Bourbon, the French poet, who stayed with the goldsmith
when in London.
Another goldsmith of importance was the Welshman Morgan
Wolf, Fenwolf , or Phillip, one of the sewers of the chamber, and keeper
of the castle and lordship of Abergavenny. Both he and the English-
man John Freeman supplied many New Year's gifts and other gold-
smith's work to Henry. The latter was a protege of Cromwell's, who
found him much employment in connection with the dissolution of
the monasteries, and granted him a number of fat appointments.
Morgan Wolf engraved the Great Seal of England in 1543.4 Among
the foreign jewellers who came frequently to England, and some of
whom eventually settled here, were Alart Plumier, or Plymmer, as he
is called in the royal accounts, of Paris, who had frequent dealings
with the King ; Jehan Lange, of the same city, who came over as the
representative of several Parisian houses ; Hubert Morett,5 Christopher
Herrault, Peter Romaynes, Guillim Ottener, John Crispin, Latronet,
and Martin Garrard, the latter obtaining a patent of denization in
JSSS- To prolong the list of names would be only tedious, for it is
impossible to connect Holbein's name definitely with any one of them,
though there is every probability that Cornells Hayes and John of
Antwerp both worked in conjunction with him.
1 In May 1531. C.L.P., vol. v. 27S (8).
2 See pp. 92-3. 3 See p. 164.
4 C.L.P., vol. xviii. pt. i. 463 (f. 87).
6 See p. 68.
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CHAPTER XXVIII
THE BARBER-SURGEONS PICTURE AND THE
PAINTER'S DEATH
Holbein's last important work, the Barber-Surgeons picture, left unfinished by him — Description
of it — Copy of it made for James I — Pepys' attempt to purchase the original — Holbein's death
from the plague in the autumn of 1543 — Discovery of his will — His executor, John of Antwerp,
and his witnesses, Anthony Snecher, Olryck Obinger, and Harry Maynert — Old mistake in the
date of his death — History of Holbein's family — Englishmen named Holbein — His imitators
— Painters who were working in England at the time of his death and shortly afterwards —
Johannes Corvus and Gerlach Fliccius — Guillim Stretes — Hans Eworthe — Thomas and John
Bettes — Nicholas Lyzarde — Amberger — Copies of Holbein's pictures in English collections.
HE last important work upon which Holbein was en-
gaged, a work left unfinished owing to his sudden
death, was the large picture still hanging in the old
hall of the Barber-Surgeons' Company in Monkwell
Street, London (PI. 54). * It was painted to commem-
orate the unification of the Company of Barbers and
the Guild of Surgeons by Act of Parliament in the thirty-second year
of Henry's reign (1540-41), and must have been begun shortly after
the passing of the Act. At an earlier period the barbers and
the surgeons of London had formed a single company, but in
course of time had become separated ; and upon their second
coming together Holbein was called in to furnish a permanent
record of the event. During the progress of the work he painted
separate portraits of at least two of the sitters in the big picture — Dr.
John Chamber and Sir William Butts — just as he had painted individual
likenesses of Sir Thomas and Lady More when engaged upon the big
group of the Chancellor's family.
The truth of Van Mander's statement that Holbein left this large
picture unfinished is apparent after even a cursory examination of it.
That writer, who regarded it as an " unusually splendid work," says :
" According to the feeling of some, Holbein is said not to have
completed the piece himself, but that the deficient parts were painted
by some one else. Nevertheless, if this be the truth, it must lead to
1 Woltmann, 202. Reproduced by A. F. Pollard, Henry VIII, p. 270; Ganz, Holbein, p. 130.
VOL. II. 289 T
290 THE BARBER-SURGEONS PICTURE
the conclusion that the completer of the work must have understood
how to follow Holbein's manner so judiciously that no painter or
artist can from good reasons decide that various hands have been
engaged in it." 1
The latter part of Van Mander's statement, however, is far from
correct, for the hand of a very inferior craftsman is plainly enough to
be discerned over a greater part of the picture. The general arrange-
ment of the kneeling figures in the front rank, and the position assigned
to the King, were evidently Holbein's, who had probably finished the
heads, and even the robes, of several of the leading members of the
Guild, while the heads of others had possibly been traced on the panel
from his own preliminary studies before death cut short his labours.
For the rest, the picture appears to have suffered from more than
one later attempt to finish it.
The composition consists of nineteen figures. Henry VIII is
shown full length on his throne, which is not placed in the centre of
the picture, but somewhat to the spectator's left. He is crowned
and dressed in his full robes of state, holding the sword in his right
and the charter in his left hand. He is represented as far larger
in size than the other figures kneeling in front of him, something in
the manner of earlier days, when the importance of the principal person
in a painting was brought home to the spectator by the simple plan
of depicting him much bigger than those who surrounded him. This is
a trick to which such a master as Holbein would never have descended ;
indeed, the figure of the King, who stares straight out of the picture
with a dull, wooden countenance, without evincing the slightest in-
terest in the ceremony in which he is the chief performer, cannot even
have been sketched in by Holbein, and is a stiff and clumsy performance
at the best. The head has evidently been copied from one of the
numerous likenesses of Henry of the type of the Warwick portrait,
without any attempt to alter the position of the face or to connect
it with the presentation which is taking place. The position of the head
may have been indicated by Holbein on the panel, and Woltmann is
probably right in his conjecture that it was his intention to represent
him standing on the steps of the throne, and not seated, which would
account for the height of the face as it now is above the surrounding
figures.2 On the King's right hand only three members of the Guild
1 Quoted by Woltmann, i. p. 474. Eng. trans., p. 444. 2 Woltmann, i. p. 475.
DESCRIPTION OF THE PICTURE 291
are kneeling — Chamber in the front, with Butts next, and T. Alsop
behind him. The three may have been thus placed in the position of
honour as the King's personal physicians. All three wear a furred
gown and a doctor's cap. The head of Chamber is excellent, and
appears to be wholly Holbein's work, with little or no retouching ;
that of Butts has suffered more severely from incompetent hands,
while the Alsop is much weaker. It is in this part of the picture, and
in one or two of the heads on the opposite side, that Holbein carried
his work almost entirely to completion. Eight men kneel in the front
row on the King's left, headed by T. Vicary, who receives the charter
from the royal hand, five of them with beards, and some of them with
skull-caps, and wearing more elaborate costumes and gowns than those
opposite to them. The second figure, T. Aylif, the Warden, is one of
the most effective, the head, though here again retouching is very
evident, being perhaps the best of all. The heads of Harman and
Monforde are noteworthy among the remainder of the figures, the
greater number of which have been so badly repainted that no touch
of Holbein's hand is now visible ; though it is possible that in some
cases he was responsible for the outline. According to Dr. Woltmann,
traces of the pinholes by means of which the transference of Holbein's
original sketches of the heads to the panel was made, can still be
seen in several instances. Behind the eight kneeling members of the
Company on the spectator's right there appears an upper row of seven
figures, which must have been added at a considerably later date than
that of the finishing process given to the picture at some time shortly
after Holbein's death. These later figures are so badly placed that they
entirely spoil the composition, and are quite devoid of artistic merit,
being the work of a still weaker hand than that of the unknown
" finisher." They evidently formed no part of the original arrange-
ment, but represent later members of the company who wished their
portraits to be included. The panel is further marred by the fact that
over each sitter, with the exception of five in the last-named row,
his name is inscribed in large letters. Another late addition, which
also helps to spoil the general effect, is a large white tablet on the wall
on the right, which contains a long Latin inscription in prose and verse
in praise of the King. Originally this space was occupied by a window,
through which could be seen the old tower of the church of St. Bride's,
showing that the ceremony was represented as taking place in the
292 THE BARBER-SURGEONS PICTURE
palace of Bridewell. Behind the King hangs a large gold-embroidered
curtain, and on either side of it the space is roughly filled in with
flowers and fruit representing tapestry. According to Dr. Ganz,1
it is the same chamber, with the same hangings, probably the throne-
room in Whitehall, as in the large picture of the family of Henry VIII
at Hampton Court (No. 340 (510)), 2 which has been attributed by some
writers to Guillim Stretes ; and again, in a portrait of Queen Elizabeth
in the possession of the Earl of Buckinghamshire. It is possible that
the King may have sat for the picture at Whitehall, and that
Holbein made use of the surroundings at his hand, but the view
from the window in the copy of the Barber-Surgeons painting,
mentioned below, seems to indicate that the room represented was in
Bridewell. There is no resemblance between the patterns of the carpets
in the two pictures. It is painted on a panel made up of a number
of thick, vertical oak boards, and is 10 ft. 3 in. wide by 6 ft. high. In
Woltmann's opinion, " the picture is nothing but a ruin, in which we
have to search with difficulty for the traces of Holbein." 3
This opinion, and an almost similar one given by Wornum, were
regarded by the late Sir Charles Robinson as far too scathing.4 He
considered that Holbein's hand had worked more or less over every part
of the great panel — very elaborately and minutely in some parts and
very slightly in others ; but that nowhere had the finishing touches
and work required to give final truth and perfection of representation
been bestowed. He thought that an interval of some twenty or thirty
years must have elapsed before the Barber-Surgeons, in an inaus-
picious moment, determined on the completion of their picture, the
superadded work seeming to be that of a somewhat advanced Eliza-
bethan period. It must always be a matter of deep regret that they
did not leave it in the state in which it came to them from Holbein's
studio, for it would have been of infinitely greater value than it is now.
Finished by him it could not have been less than a masterpiece ; but
even in its incomplete state it would have been of equal interest as
forming an invaluable example of his technique and methods of working.
1 See Holbein, p. 243.
2 The central part of this picture, showing Henry VIII enthroned, with Edward VI and Queen
Catherine Parr on either side of him, is reproduced by Mr. Ernest Law in The Royal Gallery of
Hampton Court, p. 130.
3 Woltmann, Eng. trans., p. 446.
* In a letter to The Times, 28th August 1895.
COPY MADE FOR JAMES I 293
On the 13th of January 1618 James I wrote from Newmarket to
the Company asking that the picture should be lent to him, as he was
anxious to have a copy made of it, and promising that this should be
done expeditiously, and the original redelivered safely. " We are
informed," he said, " there is a table of Painting in your Hall whereon
is the Picture of our Predecessor of famous memorie K. Henry the 8th.,
together wh diverse of yr Companie, wh being both like him and well
done Wee are desirous to have copyd." x Holbein's name is not men-
tioned in this letter. The copy then made is in all probability the one
now in the possession of the Royal College of Surgeons,2 which is smaller
than the original, and an indifferent version of it, on paper attached
to canvas. The figure of Alsop, on the extreme right of the King,
is omitted, and in place of the tablet with the inscription, the window
with a view of the church tower is shown, proving that even if it is
not the copy ordered by James I, it is at least a very early version of
the original. It was at one time in the collection of Desenfans, and
at his sale in 1786 was purchased by the Surgeons' Company for fifty
guineas. It has been incorrectly described as the original cartoon
for the picture, and it has also been said, but this again is wrong, that
it belonged at one time to the Barber-Surgeons' Company, and that
when the two branches of the Guild were finally separated in 1745, the
College retained the copy or cartoon and the Company kept the picture.3
The next reference to the picture occurs in Pepys' Diary, under the
date August 29, 1668. The entry runs : " At noon, comes by appoint-
ment Harris to dine with me ; and after dinner, he and I to Chirurgeons'
Hall, where they are building it new, very fine ; and there to see their
theatre, which stood all the fire, and, which was our business, their
great picture of Holbein's, thinking to have bought it, by the help of
Mr. Pierce, for a little money. I did think to give 200/. for it, it being
said to be worth 1000/. ; but it is so spoiled that I have no mind to it,
and is not a pleasant though a good picture." The fire of which Pepys
speaks was the great fire of 1666, and the damage to which he refers
may have been caused to some extent by the smoke, though it is more
probable that the injury he noted was merely that caused by time
and restoration. Wornum suggests that it underwent restoration
1 The original letter is in the possession of the Company.
8 The College also possesses a second copy of the picture.
3 In 1789 this copy was cleaned and put in order by a man named Lloyd, who asked ,£400 for
his labours, but eventually took fifty guineas.
294 THE BARBER-SURGEONS PICTURE
shortly after the Great Fire, and that the tablet with the inscription
was then introduced in place of the original window.1 The entry in
the Diary further shows how high a value the Company placed on the
picture even in those days, and also that they were prepared to sell
it at their own price.2
In 1734 the Company commissioned Bernard Baron to engrave
the picture for the sum of 150 guineas. The plate, which is a large one,
and a fairly accurate transcript of the original, except that it is re-
versed, was published in 1736. It was dedicated to the Earl of
Burlington, with a Latin inscription. In 1856 it was engraved on
wood for the Illustrated London News by Henry Linton.3 In 1895 the
Company were again anxious to sell it, and an effort was made to pur-
chase it for the nation, but unfortunately the scheme fell through,
possibly because the extravagant price of £15,000 was asked for it.
While still engaged upon this important work, Holbein's life was
cut short by the plague, which raged so severely in London in the
summer and autumn of 1543 that hundreds of people died each week
from it. According to Hall, " Thys yeare was in London a great
death of the Pestilence, and therefore Mighelmas Tearme was ad-
journed to Saynt Albons " ; and Stow repeats this statement almost
word for word.4 Holbein succumbed to it on some date between the
7th of October and 29th of November. This was proved by the dis-
covery of his will in February 1861, by Mr. W. H. Black, F.S.A., who
found it in one of the Registers of the Commissary of London, at that
time preserved in the Record Room at St. Paul's Cathedral. It is
included in the book called " Beverly," on folios 116 and 121, that
volume covering the period from 1539 to 1548. It runs as follows :
" Holbeine. — In the name of God the father, sonne, and holy
gohooste, I, John Holbeine, servaunte to the Kynges Magestye, make
this my Testamente and last will, to wyt, that all my goodes shalbe
sold and also my horse, and I will that my debtes be payd, to wete,
fyrst to Mr. Anthony, the Kynges servaunte, of Grenwiche, ye of [sic]
summe of ten poundes thurtene shyllynges and sewyne pence sterlinge.
And more over I will that he shalbe contented for all other thynges
1 Wornum, p. 352, who quotes the whole of the Latin inscription.
2 See Appendix (M). 3 Reproduced in Mantz, p. 172.
* Hall, The Union of the Two Noble and Illustrate Families of Lancastre and Yorke, 1548,
p. 257. Stow, The Annales, &c, 161 5, p. 585.
HOLBEIN'S WILL 295
betwene hym and me. Item, I do owe unto Mr. John of Anwarpe,
goldsmythe, sexe poundes sterling, wiche I will also shalbe payd unto
hym with the fyrste. Item, I bequeythe for the kynpyng [keeping]
of my two Chylder wich be at nurse, for every monethe sewyn shyl-
lynges and sex pence sterlynge. In wytnes, I have sealed and sealed
[sic] this my testament the vijth day of Octaber, in the yere of or Lorde
God MVCxliij. Wytnes, Anthoney Snecher, armerer, Mr. John of
Anwarpe, goldsmythe before said, Olrycke Obynger, merchaunte,
and Harry Maynert, paynter."
To this the following official act was appended on the 29th
November :
" XXIX0 die mensis Novembris anno Domini predict. Johannes
Anwarpe executor nominat, in testamento sive ultima voluntate
Johannis alias Hans Holbein nuper parochie sancti Andree Vnder-
shafte defuncti comparuit coram Magistro Johanne Croke, &c, Com-
missario generali, ac renunciavit omni executioni hujus modi testa-
menti, quam renunciationem dominus admisit, deinde commisit ad-
ministracionem bonorum dicti defuncti prenominato Johanni Anwarpe
in forma juris jurato et per ipsum admissa pariter et acceptata. Salvo
jure cujuscumque. Dat. etc."
[On the 29th November in the aforesaid year of our Lord, John
Anwarpe, appointed executor in the testament or last will of John
alias Hans Holbein, recently deceased in the parish of St. Andrew
Undershaft, appeared before Master John Croke, Commissary-General,
and renounced the execution of the said will, which renunciation was
allowed, and the administration of the property left was consigned to
the before-mentioned John Anwarpe as sworn in, which was admitted
and accepted by him. The right of each intact.]
This is followed on folio 121 of the book by the entry :
" Holbene. — XXIXno die mensis predicti commissa fuit adminis-
tracio bonorum Johannis alias Hans Holben parochie sancti Andrei
Undershaft nuper abintestato defuncti Johanni Anwarpe in forma
juris jurato, ac per ipsum admissa pariter et acceptata. Salvo jure
cujuscumque. Dicto die, mens, &c."
[Holbene. — The 29th of the aforesaid month the administration
of the property of John alias Hans Holben, recently deceased ab
296 THE PAINTER'S DEATH
intestato in the parish of St. Andrew Undershaft, was consigned to John
Anwarpe as sworn in, and was admitted and accepted by him. The
right of each intact. Said day of month, &c] 1
According to these entries, John of Antwerp was Holbein's executor,
although he is not so mentioned in the will, and on the 29th November
he renounced all execution of it, and took out letters of administration
only. The will itself appears to have been drawn up carelessly and
in haste ; probably Holbein was already sickening when he made it,
so that it had to be done in a hurry, or he may have been merely
alarmed, owing to the number of people daily dying around him,
including, as Mr. Lionel Cust points out,2 some members of John of
Antwerp's own household, in whose dwelling, he suggests, Holbein may
himself have contracted the disease. The meaning of the two official
acts is not easy to follow, but the explanation given by Sir Augustus
W. Franks, F.S.A., procured from a legal source, is no doubt the correct
one. " Though the two official acts which follow the copy of the Will
may at first appear inconsistent both with the Will and also with each
other ; yet, if we suppose that John Anwarpe was considered to have
been appointed executor by implication (which the law allowed), much
of the seeming inconsistency will disappear. The object of the renun-
ciation may have been either to obviate some doubt which existed as
to whether John Anwarpe was so made executor (for the language is
hardly strong enough), or to avoid certain liabilities that would have
affected him as executor, but not as administrator. Formerly a
person was said to have died intestate, not only when he left no Will,
but also when he left a Will and appointed no executor, or appointed
executors and they all renounced. In this administration act the
testator is accordingly said to have died intestate. The great diffi-
culty in these official acts is how John Anwarpe could have been exe-
cutor and Mr. Anthony not. The second of the two is almost a repeti-
tion of the first, and both are dated on the same day." 3
The will is of great interest, not only as proving the date of Holbein's
death within a week or two, but also as affording some information as
to his worldly position and his personal friends. Although his
practice in London was a large one, he died somewhat heavily in debt,
1 See Sir A. W. Franks, ArchcBologia, vol. xxxix., p. 2, and W. H. Black, same vol., p. 275.
2 Burlington Magazine, vol. viii., February 1906, p. 360. See also p. 13.
8 Archceologia, vol. xxxix. p. 15.
HOLBEIN'S WILL 297
and the inference is that he had not saved money. What his personal
possessions consisted of, the document, so hastily drawn, does not say,
but, unlike a number of his fellow-artists, he does not seem to have
owned any property in London. It does not necessarily follow, however,
that he was extravagant in his habits, though he kept a horse and owed
money. It has been assumed that the frequent payment of his salary
in advance was due to improvidence ; but there is nothing beyond
the terms of his will to support this, or to show that he spent all his
income on himself, and that he failed to send money regularly to Basel
in support of his wife and family. The reference to his two children
at nurse indicates some irregular connection in England, which may
have been one of the reasons which made him disinclined to return
permanently to Basel in accordance with the wish of his fellow-
townsmen. Considering the laxity of morals at that period, the fact
that he had a second family in London is not very surprising. It has
been suggested that the mother of these children died of the plague
shortly before the artist, and that his will was made through anxiety
to provide for them should he in turn be taken with the rapid and
usually fatal disease, to which most victims succumbed within three
days. The amount bequeathed for these children's maintenance,
about three half-pence a day each, does not seem much, but when the
relative value of money at that time is taken into consideration, it
was no doubt enough for their simple needs. What eventually became
of them is not known.
With regard to the four witnesses to the will, all of whom were,
no doubt, personal friends of the painter, nothing is known with any
certainty except as regards John of Antwerp. The Mr. Anthony of
Greenwich, one of the King's servants, to whom Holbein owed the
considerable amount of £10, 13s. yd., is evidently the same individual
who witnessed the will as Anthony Snecher, armourer, although the
words " before said " do not occur against his name as witness as they
do in the case of John of Antwerp. Both Mr. Black and Sir A. Franks,
however, appear to have regarded them as two distinct persons.1 The
former suggested that " Mr. Anthony " was Anthony Anthony, one
of the officers of the Ordnance Department, who had some skill as an
illuminator, if the embellishments of certain rolls dealing with the navy
and signed by him were from his hand, as is probable. The latter
1 See Archceologia, vol. xxxix. pp. 13-14, and 274.
298 THE PAINTER'S DEATH
thought that Anthony Snecher was possibly one of the body of German
armourers in the regular employment of the King at Greenwich, of
whom Erasmus Kirkheimer was the chief, and that Holbein may have
supplied him with designs for the ornamentation of weapons. Mr. J.
Gough Nichols suggested that Mr. Anthony may have been Anthony
Toto, the painter, with whom Holbein must have been acquainted,
and with whom he may have worked in conjunction with other foreign
artists upon the decoration of Nonsuch Palace.
Of Olryck Obinger, the merchant, nothing is known, but from his
name he must have been a Swiss or German, possibly a merchant
of the Steelyard, though there is no reference to him in the State
Papers, which contain the names of a large number of the members
of that body. From his name, too, Harry Maynert, the painter,
also appears to have been a German or a Fleming. He remains an
indefinite figure at present.1 Mr. Black suggested that he might be
a relation of the John Maynard who was one of the painters employed
on the tomb of Henry VII. A relationship is also possible with the
Katherine Maynors, of Antwerp, a painter, who obtained letters of
denization in England in 1540, at which time she was a widow.
The discovery of the will put an end to the tradition which had
existed from the beginning of the seventeenth century that Holbein
died in 1554. This mistake is to be traced back to the publication
of Carel van Mander's Het Schilder Boeck, published in 1604, two years
before the writer's death. In his account of Holbein he concludes by
saying : " Soo is Holbeen in groote benoutheydt te Londen ghestorven
van de Pest A0 1554, oudt 56 Jaren." [Thus did Holbein die in London,
of the plague, in great distress, in the year 1554, fifty-six years old.]
Succeeding writers copied from Van Mander. Joachim von Sandrart
repeated the statement in his Teutsche Akademie — " Wurde er 1554
im 56 Jahre seines Alters von der damals in Londen wiitenden Pest
hingerafft " — and later biographers continued the error, which led to
great confusion, as it added eleven years to the painter's life, and caused
almost all Tudor portraits bearing dates between 1544 and 1554
to be attributed to him. Wornum suggests that the letter from the
Burgomaster of Basel to Jacob David, the Parisian goldsmith, with
reference to Philip Holbein, which is dated 1545 and speaks of Holbein,
1 The fine miniature by Holbein at Munich, bearing the initials H. M., which Dr. Ganz
suggests may be a portrait of Harry Maynert, is described on pp. 241-2.
THE PLACE OF HIS BURIAL 299
the father, as then deceased, may have been shown to Van Mander
or copied for him, and that in transcribing it, or even in the printing
of his book, the last two figures of the date were accidentally trans-
ferred, so that 45 was turned into 54.1 Such mistakes are not of un-
common occurrence, and this solution may be the true one. There was no
plague raging in London in 1554, while in 1543 there was an unusually
severe visitation. Otherwise Van Mander's account of the painter's
death is substantially correct. The place of his burial remains un-
certain, but according to tradition, as voiced by Strype, he was interred
in the church of St. Catherine Cree. Strype, in his additions to Stow's
Survey of the Cities of London and Westminster^ says : I have been told
that Hans Holben, the great and inimitable painter in King Henry
VIII's Time, was buried in this Church ; and that the Earl of Arundel,
the great Patron of Learning and Arts, would have set up a Monu-
ment to his Memory here, had he but known whereabouts the Corps
lay."
The same story was told by Sandrart, without mentioning the
church. He supposed that the Earl's difficulty arose from the fact
that so many people were dying daily, and had to be buried in such
haste, that Holbein probably shared a common grave with others,
and that no record would be kept. There can be little doubt that he
would be buried in or near the parish in which he was residing. The
church of St. Catherine Cree, though in the next parish, is not many
hundred yards distant from the Church of St. Andrew Undershaft,
and it is probable that Holbein was interred in one or the other of them,
possibly the latter, confusion as to the exact locality having arisen at
a later date owing to the close proximity of the two churches. Un-
fortunately no registers of the time are available. St. Andrew Under-
shaft escaped the Great Fire, but its register from 1538 to 1579 nas
disappeared, while that of St. Catherine Cree begins only in 1663.
Holbein's wife and family are not mentioned in his will, and what
little is known of their further history is largely due to the researches
of Dr. His-Heusler in the Basel archives. His wife survived him for
six years, dying early in 1549, after a somewhat lengthy illness, as on
the 9th of July in the preceding year she appointed, for this reason, a
deputy to manage her affairs. It is to be gathered that she was left
by Holbein in a fairly comfortable position, what with the annual
1 Wornum, p. 23. 2 1720, Book II. p. 64.
300 THE PAINTER'S DEATH
pension allowed her by the civic authorities, the two houses which her
husband had purchased fifteen years earlier, and the legacy from his
uncle Sigmund, which the painter does not appear to have touched.
Nor does it follow, because she was not mentioned in the will, that he
had failed to send to her at least a part of his English earnings. An
inventory taken on the 8th of March 1549, shortly after her death,
shows that she was fairly well provided with worldly goods. In
addition to furniture, an ample supply of linen, and the more ordinary
household utensils, she possessed two silver-gilt covered cups, six
silver goblets, a dozen silver-plated spoons, and a valise with a portion
of her deceased husband's wardrobe, including a black cap, a Spanish
cape trimmed with velvet, a doublet of smoke-coloured Florentine
taffeta, and others of black satin, crimson silk, and black damask.
These garments must have been left behind by Holbein when he
visited Basel in 1538, rather than forwarded after his death by his
executor, who, according to the terms of the will, was obliged to sell
everything. His stepson, Franz Schmid, who carried on his father's
tanning business, died before his mother, leaving two children.
Some years after 1545, Holbein's eldest son, Philip, having com-
pleted his apprenticeship to Jacob David in Paris, from whose service
he only obtained release after the Basel Town Council had come to
his assistance, worked for a time as a goldsmith in Lisbon, and finally
settled in Augsburg, where he founded a diamond-cutting business.
He in turn had a son named Philip, who, in 161 1, petitioned the Em-
peror Matthias for a confirmation and augmentation of " his old and
noble coat of arms." In this document, in which he describes himself
as Imperial court jeweller and a citizen of Augsburg, he speaks of his
grandfather Johann, as " the painter at that time celebrated through-
out Europe," and asserts that the Holbeins were descended from a
noble family of the " city of Uri." This last statement, however, was
largely imaginary, and had its sole foundation in the fact that the
Holbein arms * were the same as those of the canton of Uri, with the
exception that the latter lacked the star between the bull's horns.
This Philip Holbein, who, according to Von Mechel, had been living in
Vienna since 1600, had his petition granted on the 1st October in the
following year, 1612. In 1756 one of his descendants, Johann Georg
Holbein, who was connected with the Court of Chancery, obtained a
1 See Vol. i. p. 83.
HOLBEIN'S DESCENDANTS 301
confirmation of the noble rank granted to his family in 1612, with the
surname of Holbeinsberg, and in 1787 was raised to the rank of a Knight
of the Empire, with the title of a noble of Holbeinsberg.
Holbein's elder daughter, Katherine, married in 1545 a butcher
named Jacob Gyssler, a widower with a grown-up daughter. Among
the papers of Ludwig Iselin there is a list of all the deaths which oc-
curred in Basel between 1588 and 1612, from which we learn that she
died on February 8, 1590. She is described as Katharina Holbeinin,
daughter of the deceased Hans Holbein, the distinguished painter,
wife of a butcher. The second daughter, Kungolt, or Kunigunde,
after the death of her mother, married a miller named Andreas Syff.
They had a numerous family, and one of their granddaughters married
Friedrich Merian, brother of the well-known engraver, Matthaiis Merian.
Kungolt, according to Iselin's list, died seven months after her
sister, on September 15, 1590. She is described in the same terms,
as the daughter of the celebrated artist. In this list there also occurs
the name of a third lady of the Holbein family, who died on the 17th
September 1594, but she is merely described as " Felicitas Holbein,
wife of Conrad Volmar, died of the plague," and it is not certain that
she was one of the painter's daughters. Nothing is known of the
younger son, Jacob Holbein, except that he also became a goldsmith,
and that he came to England and died in London in the summer of
1552. In 1549, at tne time of his mother's death, he was still a minor,
and the document in the Basel archives dealing with the division of
his property after his death is dated June 27, 1552. No other record
of his presence in London has been so far traced.
The name occurs in England both before and after Hans Holbein's
residence here, but in every case the bearers of it were almost certainly
Englishmen. Walpole mentions a Holbein, on the authority of an
entry in a register at Wells,1 as living in the reign of Henry VII, and
conjectures him to have been a foreigner, and even a relation of Hans,
and the possible author of some early paintings, including a portrait
of Henry VII. In this, however, he was wrong. His Holbein was
evidently an English country gentleman, and probably some relative
of a certain Johannes Holbyn of North Stoke, close to Bath, who died
in 1548, and left a sum of money to the Cathedral of Wells. The
wills of two other well-to-do persons of this name occur in the registry
1 Walpole, Anecdotes, ed. Wornum, i. p. 49.
302 THE PAINTER'S DEATH
of the Archidiaconal Court of Canterbury — that of John Holbein of
Folkestone, dated August 21, 1534, who bequeathed forty-six shil-
lings and eightpence for a new covered font for the parish church,
and of his widow, who died shortly after him, which is dated November
25, 1534, and was proved in the following January. These people
were all English, and had no connection with the painter.1
Holbein founded no school of painting either in England or Switzer-
land, and there is no evidence to show that he had any pupils. It is
probable that he employed assistants when engaged upon such wall-
paintings as those he carried out in Whitehall, but whoever they may
have been, their engagement was only a temporary one. As already
noted, there is no record, as there is in the case of several other foreign
artists then resident in this country, of a royal warrant according
him the privilege of employing in regular service a number of alien
assistants or servants in spite of the Act which made such a proceed-
ing illegal. No pupil of his is mentioned by any of his early biographers,
and it seems almost certain that no one directly studied under him.
If there had been such a painter, some record of him is almost certain to
have survived. There are a number of portraits, as a rule of no very
great artistic merit, in various private collections in England, which
were evidently painted indirectly under his influence. Such examples
are to be expected, for it was impossible for so great a master to be at
work in London for so many years without a certain number of imi-
tators springing up, who attempted to work in his methods and to copy
his style. It is hardly possible now that even the names of these
third-rate imitators and ineffectual rivals will be unearthed.
As already stated, prior to the discovery of his will almost all paint-
ings bearing dates between 1543 and 1554 were ascribed to him ; even
to-day, in some instances, the owners, in spite of the impossibility,
still adhere to the great name, as the catalogues of most of the exhibi-
tions held within recent years dealing with the Tudor period afford
proof. The authorship of these pictures must be sought for elsewhere,
though in many cases the task is one of extreme difficulty. Several
painters of considerable talent were at work at the English court
during the years immediately following Holbein's death, and in some
instances signed and authenticated works by them exist which enable
1 See Sir A. W. Franks, A rchcsologia, vol. xxxix. p. 16 ; W. H. Hart, Proceedings Soc. of
Antiq., 16th April 1863 ; and Wornum, p. 372.
GUILLIM STRETES 303
comparisons to be made and certain unsigned works from their hands
to be identified with some confidence. Such men as these were Johannes
Corvus and Gerlach Fliccius ; but in other cases, such as that of
Guillim Stretes, only the names and a few scanty records remain, and
it is impossible to point to any picture which can be said with absolute
certainty to have been produced by them. Lucas Hornebolt died in
1544, about six months later than Holbein, and in the same year
Girolamo da Treviso was killed by a cannon-ball at the siege of Bou-
logne. Several of the leading Italian artists, however, continued to
serve the court during the remainder of Henry VIIFs life and through-
out the succeeding reign, such as Antonio Toto, the sergeant-painter,
his colleague, Bartolommeo Penni, and Nicolas Bellin of Modena,
though no signed or authenticated picture by any one of them has
survived.
One of the most important of Holbein's immediate successors was
the Dutch painter, Guillim or Gillam Stretes, though so far no men-
tion of him has been found prior to the accession of Edward VI.
Strype's extract from the records of the Privy Council, having refer-
ence to a payment of fifty marks made to him for two pictures of
the young King and one of the Earl of Surrey, has been already
quoted,1 as well as the fact that in 1553 he was receiving, as King's
painter, an annuity of £62, 10s., more than double Holbein's salary,
showing that he was a person of importance among the painters of
Edward's reign. Reference has also been made to the attribution to
Stretes of the full-length portrait of Henry Howard, Earl of Surrey,
in the collection of the Duke of Norfolk at Arundel Castle,2 and of the
duplicate version, without the painted framework, at Knole.3 The
attribution of these two works to Stretes is based entirely on the
Privy Council order. Dr. Waagen 4 stated that the Arundel Castle
portrait was inscribed " William Strote," but no one else has succeeded
in discovering this signature, and very possibly the name he quotes
was seen by him on some old label then attached to the frame and
since removed. These two portraits, as already noted, have been
grouped with several other full-lengths, including the young man in
1 See pp. 168-70.
2 Exhib. Burl. Fine Arts Club, 1909, No. 54. Reproduced Arundel Club, 1907, No. 3 ; Pollard,
Henry VIII, p. 2S4.
3 See p. 201.
4 Waagen, Treasures of Art in Great Britain, vol. iii. p. 30.
304 GUILLIM STRETES
red at Hampton Court Palace (No. 345 (315)), wrongly described as a
portrait of the Earl of Surrey,1 that of Sir Thomas Gresham, dated
1544, in Mercers' Hall, the beautiful portrait of William West, Lord
Delawarr,2 belonging to Lieut. -Col. G. L. Holford, CLE., C.V.O.,
and the one of the Earl of Southampton, 1542, in the Fitzwilliam
Museum.3 These portraits display somewhat close affinities, though
it is not possible to allow that all are by the same hand. The portrait
of William West is a work of great power and character, and has been
attributed to Holbein himself, but the style of the painting does not
accord with his. All these works are of considerably earlier date
than that of the Privy Council order, whicji is the earliest reference
so far discovered touching this painter, and it is extremely doubtful
whether he had anything to do with them. One is on safer ground
in attributing to him some of the portraits of King Edward, which
exist in considerable numbers, two of which he certainly painted,
and very possibly others. These portraits of the young King, and
Stretes' probable connection with them, have been dealt with in an
earlier chapter.4 One other picture Stretes is known to have painted,
for it is recorded that on New Year's Day, 1556, he presented Queen
Mary with " a table of her Majesty's Marriage." 5 This picture,
which must have been one of particular interest, has completely dis-
appeared. Dr. Williamson records a signed miniature by him of
Edward VI, almost full face, wearing a jewelled cap, in Earl Beau-
champ's collection at Madresfield Court,6 and he also attributes to
the same painter a second miniature of the young King, as a little boy,
in the Rijks Museum, Amsterdam.7
Of Johannes Corvus, the Fleming, and his portraits of Richard
Foxe, Bishop of Winchester, and of Mary Tudor, sister of Henry VIII,
the one undated, and the other of the year 1532, some account has
been already given.8 Little is known of this painter, or of Gerlach
1 Reproduced by Law, Royal Gallery of Hampton Court, p. 136.
3 Exhibited Royal Academy Winter Exhibitions, 1870, No. 23 ; 1880, No. 167 ; 1908, No. 2 ;
Burl. Fine Arts Club, 1909, No. 51. Reproduced Arundel Club, 1908, No. 10; and Burl. Fine
Arts Club Catalogue, PI. xvii.
3 See pp. 204-5.
4 See pp. 168-70.
5 Queen Elizabeth's Progresses, vol. i. p. xxxv., and Nichols' Illustrations 0/ Ancient Times,
p. 14.
• Williamson, History of Portrait Miniature:, 1904, vol. i. p. 12. Reproduced, PI. v. fig. 3.
7 Ibid., PI. xlvii. fig. 6. 8 See Vol. i. p. 269.
GERLACH FLICCIUS 305
Fliccius or Flicke, who, like Holbein, was German, and appears to
have settled in London towards the end of Henry VIII's reign, where
he died in 1558. Recent researches by Miss Mary Hervey1 have,
however, added considerably to our knowledge of this painter and his
work. His will, recently discovered, which is dated 24th January
1558, and was proved by his widow on the nth February following,
shows that he was living in the parish of St. Giles without Cripple-
gate, and that he possessed lands and goods in Osnabriich, of which
place he was no doubt a native. In this document he calls himself
" Drawer," and gives his name as Garlick Flicke, and it was under the
name of Garlick that he was generally known in this country. The
Lumley inventory includes three portraits by him — a full-length,
described as " The Statuary of Thomas first Lo: Darcy of Chiche,
created by King Edw. 6. Ld Chamberlayne to the said K. Edw. :
drawn by Garlicke," and two small ones of " Queen Marye, drawne
by Garlicke," and " Thomas, the third Duke of Northfolke, drawne
by Garlicke." Unfortunately these three portraits have disappeared —
the full-length of Lord Darcy in quite modern times. Until 1854 &
was hanging in Irnham Hall, Lincolnshire, but in that year the house
and its contents were sold, and the present whereabouts of the picture
has so far not been traced. Miss Hervey gives a list of eight portraits
which can be attributed with more or less certainty to Fliccius. In
addition to the three from the Lumley Collection, there are three
others in the collection of the Marquis of Lothian at Newbattle Abbey,
Dalkeith, the portrait of Archbishop Cranmer in the National Portrait
Gallery, and the small double portrait of the painter himself and his
friend, Richard Strange ways. The three at Newbattle Abbey2 are
of great interest, though it is impossible to describe them in detail
here. The finest, which is dated 1547, and is signed " Gerlacius
Fliccus Germanus faciebat," represents an unknown man of the age
of forty, whom Miss Hervey tentatively suggests to be William, Lord
Grey of Wilton, clad in a slit buff jerkin and a black velvet surcoat
trimmed with fur. It is a portrait of considerable power, and though
it has suffered from repainting still appears to have been the work of a
man of more than ordinary artistic talents. The second portrait at
1 See Burlington Magazine, vol. xvii., May 1910, pp. 71-9, and June 1910, pp. 147-8, from
which most of the following facts have been taken; and J. G. Nichols, Archceologia, xxxix.
pp. 40-41.
2 All reproduced by Miss Hervey in Burlington Magazine, as quoted.
VOL. II. U
306 GERLACH FLICCIUS
Newbattle — of Sir Peter Carew — has many points in common with it,
and was probably painted at about the same time. The portrait of
Archbishop Cranmer in the National Portrait Gallery is stiffer in style
than these, and suggests a more obvious attempt to follow the manner
of Holbein, but though very carefully painted and with every appear-
ance of truth of portraiture, lacks the vitality which stamps everything
from the hand of the master. It. is signed " Gerbicus Flicciis Ger-
manus faciebat," and though undated was, according to the sitter's
age, painted in 1545. The curious double portrait, on a small oak panel,
of Flicke and his friend Strangeways or Strangwish, the gentleman
privateer, known as the "Red Rover," was painted in prison in 1554.
The artist seems to have been mixed up in Wyat's rebellion, and as a
result he and his friend were imprisoned, but afterwards released.
Over each head is painted a verse, that above Flicke's in Latin, which,
translated, runs : " Such in appearance was Gerlach Fliccius, what
time he was a painter in the City of London. This portrait he painted
from a mirror for his dear friends, that they might be able to remember
him after his death." The lines over Strangeways are in English :
" Strangwish thus strangely depicted is,
One prisoner for thother hath done this ;
Gerlin hath garnisht for his delight,
This woorck whiche you se before youre sight."
The background is blue. The present ownership of this picture is
unknown. The remaining picture, at Newbattle Abbey, is a small
portrait of Jacques de Savoie, due de Nemours, showing the head and
shoulders only of a young man with fair hair and a very slight beard and
moustache, in French dress, and wearing the Order of St. Michael. It
betrays the influence of the French school, and is in style of marked
difference to his other known works. It was identified in 1909 by
M. Dimier, who discovered three crayon drawings taken from it, all of
them bearing the title given above. The original picture is signed
" G. Fliccus ft.," and on the back is an old label with " Origl. Fliccus
ft." Miss Hervey suggests that it was painted on the Continent
about 1555.1
1 Reproduced by Miss Hervey, Burlington Magazine, vol. xvii., June 1910, p. 148, together
with one of the French drawings.
HANS EWORTHE OR EEUWOUTS 307
Recent researches on the part of Mr. Lionel Cust have estab-
lished the identity of another foreign painter of considerable skill,
who was at work in England some years after Holbein's death, but
who hitherto has been known only under the initials H. E.1 This
monogram occurs on a number of pictures of important personages
bearing dates from 1550 to 1568, the earliest of them being on a portrait
at Longford Castle, formerly known as Sir Anthony Denny, but now
recognised as Sir Thomas Wyndham. These portraits have usually
been given to Lucas d'Heere,2 of Ghent, although all that is known of
that painter's life, including the fact that he did not come to England
before 1568, made the attribution of any one of them to him one of
great difficulty. Mr. Cust, by means of certain entries in the Lumley
inventory, has proved that the real author of them was a certain Jan
Eeuwouts, of Antwerp, whose name became anglicised into Haunce
or Hans Eworthe. Three of the Lumley portraits are described as
the work of Eworthe—" Mr. Edw. Shelley slayne at Mustleborough
fielde, drawen by Haunce Eworthe " ; " Haward a Dutch Juellor,
drawne for a Maisters prize by his brother, Haunce Eworthe " ; and
" Mary Duches of Northfolke, daughter to the last Earle of Arundell
Fitzallan, doone by Haunce Eworthe," the last one being in all prob-
ability the portrait now at Arundel Castle, which is signed H. E. in
monogram. Several other portraits in the Lumley inventory, though
no painter's name is given, still exist, and bear this monogram, such as
the small double portrait of Lord Darnley and his brother, Charles
Stewart, at Windsor Castle ; Lord Maltravers at Arundel Castle ;
Sir John Lutterel, dated 1550, at Dunster Castle ; and Sir Thomas
Wyndham, also dated 1550, at Longford Castle.3 These portraits
prove that Eworthe was much employed by Lord Lumley or his father-
in-law, the last Earl of Arundel, at Nonsuch Palace. Mr. Cust has
traced him as a resident alien in London in 1552 in the parish of
St. Saviour's, Southwark. He is described in the return as " John
Ewottes, paynter," and assessed at the high rate of eight guineas, and
he employed a servant named John Mychell, who was assessed at
eightpence. As " Jan Eeuwouts, schilder," he was admitted a free
1 See Burlington Magazine, vol. xiv., pp. 366-8.
2 For an account of d'Heere's work in England, see Lionel Cust in Diet, of National
Biography, 1888, vol. xiv., in the Magazine of Art, 1891, and in the Proceedings of the Huguenot
.Society of London, vol. vii. No. i, 1903.
3 Reproduced in the Catalogue of the Earl of Radnor's Pictures, 1909, No. 165.
308 HANS EWORTHE AND OTHERS
master of the Guild of St. Luke in Antwerp in 1540. It is thus possible
that he was a native of that city.1
The present writer ventures to suggest that Eworthe was also the
author of a picture included in the inventory of the Duke of Bucking-
ham's pictures at York House in 1635. The entry is as follows : " Hans
Evolls — A little head of Queen Mary." 2 The spelling of most of the
names in this inventory is largely phonetic, and evidently the work of
some person with little knowledge of such matters, so that he may
easily have turned Eworthe into Evolls.3 The following statement
of Walpole's also suggests a possible connection with Eworthe :
" Another picture of Edward VI was in the collection of Charles I,
painted by Hans Hueet, of whom nothing else is known. It was
sold for 20/. in the civil war." 4
It is impossible to mention more than the names of certain better-
known foreigners who practised in England under Mary and Elizabeth,
such as Mor, who came over in 1553, Joos van Cleve, who did so in
1554, and Lucas d'Heere. Of the few known native painters working
in London in the years immediately following Holbein's death the
records are so scanty that little remains but their names, but, taking
them as a body, they must have been men of very modest talent,
and in portraiture, when they essayed it, merely feeble imitators either
of Holbein or one of the other leading foreigners at Henry's court.
Among them were John Shute, painter and architect, and John Bettes,
both of whom are described as miniature painters by Richard Haydock
in his translation of Lomazzo on Painting (1598), and, apparently, as
contemporaries of Nicholas Hilliard. " Limnings," he says, " much
used in former times in church-books, as also in drawing by the life
in small models, of late years by some of our countrymen, as Shootey
Betts, &c, but brought to the rare perfection we now see by the most
ingenious, painful, and skilful master, Nicholas Hilliard." 5 Meres,,
in Palladis Tamia, Wits Treasury, the second part of his Wits Comrnon-
1 For further details concerning Hans Eworthe, see Mr. Cust's paper, already quoted, in the-
Burlington Magazine, and Mr. W. Barclay Squire's notes to the portrait of Sir Thomas Wyndham
in the Earl of Radnor's Catalogue. The latter describes all the portraits which so far can be
attributed to Eworthe with any degree of certainty.
2 See Burlington Magazine, vol. x., March 1907, p. 382.
3 Or the double / may be merely a mistake of the compiler of the catalogue for a double /.
4 Walpole, Anecdotes, ed. Wornum, i. p. 136.
5 Quoted by Walpole, Anecdotes, ed. Wornum, i. p. 172.
THOMAS AND JOHN BETTES 309
wealth, also published in 1598, in giving a list of the leading painters
in England at that time, mentions " Thomas and John Bettes." From
these two entries it seems clear that Bettes was an Elizabethan minia-
ture painter, and Vertue, who was of opinion that he learned from
Hilliard, mentions a miniature by him of Holbein's sitter, Sir John
Godsalve, in which he was represented with his spear and shield, with
the inscription " Captum in castris ad Boloniam 1540." 1 There is,
however, in the National Gallery a small portrait of Edmund Butts
(No. 1496), a son of Sir William Butts, another of Holbein's sitters,
to which reference has been already made,2 which is attributed to
John Bettes, and bears the date 1545. If this attribution, based
on a French inscription on the back of the panel, be correct, the
date indicates that the painter was at work at a considerably earlier
period than is to be inferred from the only two almost contemporary
references to him, quoted above, which have been so far discovered,
and that he may even have been personally acquainted with Holbein.
The portrait in the National Gallery is a work of considerable merit,
and possesses certain Holbeinesque characteristics. In any case,
the date upon it makes it impossible, if painted by Bettes, that he
could have been Hilliard's pupil, as Vertue asserted. Little or
nothing is known of his work, though, according to Dr. Williamson,
there is a fine miniature of an unknown man by him in the Montagu
House Collection, signed " J. B. 1580 " ; 3 and a second, of a somewhat
earlier date, a portrait of Gaspard de Coligny, Admiral of France,
apparently unsigned, in Lord Beauchamp's possession at Madresfield
Court.4 Dr. Williamson also notes a quaint miniature of Edward
VI as a baby in the Rijks Museum, Amsterdam, which in an old
inventory of the Dutch royal possessions is attributed to Bettes.5
Fox, in his Ecclesiastical History, states that John Bettes drew the
vignettes for Hall's Chronicle. Still less is known of Thomas Bettes,
but there was a miniature in the Propert Collection of John Digby,
Earl of Bristol, which was given to him.
Another painter, of whom little is known but his name, was Nicholas
Lyzarde, who is generally considered to have been an Englishman,
1 Walpole, Anecdotes, ed. Wornum, i. p. 138.
2 See p. 210.
3 Williamson, History of Portrait Miniatures, 1904, vol. i. p. 13; reproduced PI. iv. fig. 2.
4 Ibid., PI. iv. fig. 1.
5 Ibid., PI. xlvii. fig. 4.
310 NICHOLAS LYZARDE
though Mr. Digby Wyatt speaks of him as Nicolo Lizardi.1 He was
employed about the Court during the last years of Henry VIII's reign.
Thus, in 1543-4 he was at the head of a band of painters engaged on
work in connection with some revels at Hampton Court, for which he
received higher wages than the others — " Wages to painters : Nichs
Lezard i8d per diem " ; and in 1544-5 he supplied various materials
and properties for some other masque — " Paste work and painting,
Nicholas Lizarde, painter, for gyldinge under garments for women,
of white and blue sarcenet, with party gold and silver, 4 li. ; 8 pastes
for women, 2od. ; 8 long heads for women, made of past gilded, with
party gold and silver, 43s. 4^.," &c. He was afterwards in the
regular employment of the Court throughout the reigns of Edward VI,
Mary, and Elizabeth, being serjeant-painter to the last-named Queen,
with a pension or salary of £10 a year. Nothing of his work
remains that can be identified, but that he painted "subject'
pictures is to be gathered from a New Year's gift he presented to
Queen Mary in 1556 of a " table painted with the Maundy," while in
1558 his gift to Queen Elizabeth was " a table painted of the history
of Assuerus," for which he received a gilt cruse of some 8 oz. in
weight. He died in April 1571, and at the time was living in the
parish of St. Martin's in the Fields, and left a family of five sons and
four daughters.2
In the wider field of European art, also, it is impossible to point
to any painter who was a pupil, or even a direct follower, of the master.
Sandrart says that Christopher Amberger " followed the famous artist
Holbein in his manner of painting, and especially in portraiture," but
modern criticism does not endorse this statement. In any case, his
opportunities of studying Holbein's works must have been few, though
Woltmann considered that he certainly did so, and regarded him, if
not as an actual pupil, yet as a real follower of the master.3 It is not
1 "Foreign Artists in England," &c, Transactions Royal Inst. Brit. Architects, 1868, pp. 218
and 235. It may be suggested that this painter was the "Master Nycolas" or "Nicholas
Florentine " who worked with Holbein on the decorations of the Greenwich Banqueting Hall in
1527; while a possible, though not very probable, connection between Nicholas Lyzarde and
Nicholas Lasora, who was engaged upon similar work at Westminster Palace in 1532, has been
already pointed out. Lasora, however, in spite of his Italian-sounding name, appears to have
been a Teuton, for he may be identified with some probability as the " Nic. Leysure, a German,"
mentioned more than once in the royal accounts. See vol. i. p. 314 and note.
2 J. G. Nichols, Archceologia, vol. xxxix. p. 45. That he was not English seems probable from
the fact that he was assessed and taxed at the customary rate for foreigners. See pp. 188-9.
3 Woltmann, i. p. 488.
HIS IMITATORS AND COPYISTS 311
to be expected, indeed, that Holbein should have formed any definite
school, though he must have influenced painting in Basel during his
first and longest residence in that city ; but, except for that period,
his life was more or less a wandering one, and he never, during his short
career, settled for a long enough time in any one place to have allowed
him to gather any considerable body of pupils around him.1
The work of his imitators and copyists, such as they were, is to be
found in the portraits scattered about the older country houses and
mansions of England, where they are usually attributed to Holbein
himself, often when the date upon them makes it impossible that he
could have painted them. Among them are numerous old copies of
still-existing portraits by him, which indicate the estimation in which
his work was held for years after his death. For instance, in the fire
which burnt down Knepp Castle, Sussex, in January 1904, a number
of pictures were destroyed, including no less than eight attributed to
Holbein. The titles of nearly all of them were familiar enough — Sir
Henry and Lady Guldeford, Anne of Cleves, Thomas Cromwell, Sir
Richard Rich, and iEgidius — indicating that they were most probably
merely replicas or copies. It is true that Holbein occasionally painted
a replica, but this was very rarely, and in most cases the portraits in
question were the work of far less skilful men, and owed their existence
to the desire of the descendants of Holbein's original sitters to possess
copies of the older family portraits.
1 On this point, however, see Elsa Frolicher, Die Po?'trdtkunst Hans Holbeins des Jiingeren
unci ihr Einfluss auf die schweizerische Bildnismalerei im XVI Jahrhundert, 1909, in which she
traces the influence of Holbein's art on a number of contemporary Swiss painters and others
practising in the latter half of the sixteenth century, such as Hans Asper, Tobias Stimmer, Kluber,
Clauser, and Hans Bock the Elder.
M
CHAPTER XXIX
CONCLUSION
Holbein's many-sided art — The destruction of 'all his larger decorative works — The fertility of his
invention and his power of dramatic composition — The influence of the Italian Renaissance
upon his art, both in his mural and historical paintings and in his designs for jewellery and
the decorative arts — His sacred paintings — His genius in portraiture and his perfection as
a draughtsman — A comparison between the art of Diirer and Holbein.
OLBEIN'S art was many-sided, but, through the cruel
caprice of Fate, he is known to-day to most people
merely as a great portrait-painter, and, in a lesser
degree, as a designer of woodcut illustrations of re-
markable power and imagination. It is true, of course,
that during the latter part of his life, after he had settled
more or less permanently in England, his time was almost entirely
occupied with portraiture, and that, beyond portraits, little or nothing
of his work remains in this country upon which to form a judgment
of the versatility of his genius ; and it is true also that his stupendous
gifts in this field of art were bound to find free expression. That
portrait-painting, however, became in the end his chief occupation
was due much more to his environment than to his own personal
choice. There was little demand in this country for any other form
of art, and the painter, as was only natural, supplied what his patrons
asked of him. It is not to be supposed that the master who was capable
of producing such great works as the " Meyer Madonna," or the various
altar-pieces and glass designs illustrating the " Passion," would have
abandoned painting such compositions had he received any encourage-
ment to continue ; but such encouragement came to a more or less
abrupt conclusion during the stormy days of the Reformation in Basel,
and for the remainder of his life Holbein produced little or nothing in
the field of sacred art. The few examples of this nature from his
brush which remain place him in the front rank of sixteenth-century
painters, and had his birthplace been south instead of north of the
Alps, and his life spent amid surroundings more sympathetic to this
312
DISAPPEARANCE OF DECORATIVE WORKS 3 1 3
side of his genius, there can be little doubt that he would have given
to the world a series of sacred works as fine as those of any of the great
Italians of the Renaissance. J
It is with respect to those larger decorative works, however, upon
which he was engaged from time to time throughout his life, both in
Switzerland and England — works for which in his own day he was so
justly celebrated — that Fate has treated him most unkindly. The total
disappearance of his great wall-paintings and monumental decorations
is not only an immense loss to art, but has rendered it difficult for all
but close students of his work to appreciate to the fullest extent the
wide range of his artistic powers. Not a single example of his skill as
a mural decorator remains. The passage of time, the carelessness of
those whose duty it was to preserve them, and the ravages of fire
and of the weather, gradually obliterated these paintings, while such
of their faded glories as endured until more modern days were
finally swept away by the clumsy hand of the restorer or the building
schemes of private owners and civic authorities. Just as it seems
practically certain that some at least of his sacred pictures were des-
troyed by the fury of the rioters in the religious disturbances which
finally drove Holbein to Henry's court, so the mural paintings and
pictured stories with which he covered the outer and inner walls of
a number of houses in Basel and Lucerne have vanished through
causes which, though different, have been equally effective in their
powers of destruction. Damp, dirt, and neglect brought about the
gradual fading away of his great series of wall paintings in the Council
Chamber of the Basel Town Hall ; while similar works of his English
period, the wonderful " Triumphs " painted for the banquet-hall of
the German Steelyard, and the great fresco of Henry VIII with his
parents and Jane Seymour in Whitehall, have disappeared, the former
on the final breaking up of the German trade monopoly in this country,
and the dispersal of the contents of the Steelyard buildings, and the
latter in the fire of 1698. Gone, too, is the large canvas of " The Battle
of Spurs," painted for the festivities at Greenwich in 1527, one of
the first of Holbein's important undertakings in England. No trace
of this painting now remains, and a similar fate has befallen the
great picture of Sir Thomas More and his family, though in this case
it is not absolutely certain that Holbein himself ever completed it.
Finally, death cut him down as he was engaged upon the most elabo-
3H CONCLUSION
rate portrait group he ever undertook, which was not half finished
when he fell a victim to the plague. This list of lost or ruined master-
pieces is a long one. Unfortunately, the tale is by no means uncommon
in the history of art, but Holbein has suffered in this way more severely
than most. Of their beauty and their imaginative power it is now only
possible to judge from a few fragments of some of the original frescoes,
some inferior copies of certain of them, and a number of masterly
sketches and preliminary studies from Holbein's own hand preserved
in the Basel Gallery, the British Museum, the Louvre, and elsewhere.
These latter, scanty as they are, remain priceless treasures, for only
by means of them is it possible to gain some idea, though it is a pale
reflection at the best, of the greatness of Holbein's achievement in the
higher branches of art, the loftiness of his ideals in his monumental
paintings, and the wide range of his genius.
In all these large decorative works Holbein displayed the greatest
fertility of invention, and a power of dramatic composition of a very
high order. The extraordinary energy of conception, the sense of
life and movement in all his figures, the truth and expressiveness of
their gestures, are all alike admirable. This dramatic power is at its
finest in his wall-paintings for the Basel Town Hall — the " Rehoboam "
and the " Samuel and Saul " ; while in dignity and grandeur of com-
position, and the noble rhythm of its stately movement, the " Triumph
of Riches " panel for the Steelyard is unsurpassed. The extraordinary
fertility and exuberance of his imagination is to be seen in the archi-
tectural details and decorative settings in which these mural paintings
and designs were placed. These settings show how quickly and com-
pletely he made the new ideas and decorative motives of the Renais-
sance his own, while the pictures themselves, for which they formed
the background and the frame, breathe the lofty spirit of Raphael
and Mantegna. Though there is no slavish copying of the art and
architecture of Northern Italy, their influence is to be seen so plainly
in the work of his younger days that, as pointed out in earlier chapters,
at least a short visit to Lombardy on his part seems to have been
absolutely certain.
The same qualities and the same influences are to be discerned in his
designs for painted windows and the decoration of books ; though
smaller in scale, they are conceived with an equal grandeur and dra-
matic intensity. Indeed, in his " Dance of Death " woodcuts and
HIS FERTILE IMAGINATION 315
illustrations to the Old Testament his imaginative and dramatic powers
reached their highest manifestation. Minute as they are in execution,
they produce the same effects of largeness and dignity of composition
as his great wall-paintings must have done. In the " Dance of Death "
in particular the wideness of Holbein's range of vision, the greatness
of his style in design, and the intense vitality of his art are seen to
the best advantage. These little pictures, a few inches square, ex-
press within their borders almost the whole range of the emotions,
from the tender sympathy of the lovely " Death and the Plough-
man," and the poignant grief of " Death and the Little Child," down
to the terror, horror, and violence which is encountered in others of
the series in which Death suits his coming to the character of his
victims. Such works as these show the greatness of Holbein as an
imaginative artist. Another side of his nature and his art appears in
such a design as his " Peasants' Dance " on the facade of the Haus
zum Tanz in Basel, in which the Teutonic element in his character
finds full play. The boisterous, even brutal, merriment of these fellow-
countrymen of his, as they fling themselves into the pleasures of the
dance with the utmost abandon, made an undoubted appeal to him,
and in depicting them he expressed the joy of living which animates
every movement with the utmost frankness and realism.
In this wide field of mural decoration and historical painting
Holbein was the first and the greatest of those painters north of the
Alps who came under the influence of the Italian revival of art. In
him the Renaissance found very complete expression. This is also to
be seen in his innumerable designs for jewellery and the smaller de-
corative arts, of which, happily, there still remain many examples.
Both in book ornamentations and illustrations, in work for the gold-
smith and silversmith, the jeweller, and the maker of stained and col-
oured glass, he showed himself to be in closest sympathy with the new
movement. In his earlier works the effect of this influence appears
in the exuberant use he made of the models which he had recently
studied, some of the glass designs being overloaded with fantastic
reminiscences of the details of Lombardic architecture. Later on,
when he had completely grasped the full beauty of the Renaissance
forms, his taste became purer, and he adapted them to his uses with
the happiest results. In his drawings for personal ornaments and
jewellery, most of the best of which were done in London, the earlier
316 CONCLUSION
exuberance is restrained, and the design is of the purest Renaissance
taste, in the practice of which he became an absolute master. These
working drawings show infinite invention kept within the true limita-
tions of the materials to be used, frequently combined with very
skilful adaptation of the human figure to decorative purposes. It
would be difficult to find a more beautiful design in the Renaissance
style than the one of the so-called Jane Seymour Cup, in which
Holbein more than holds his own with the best Italian workers in this
field.
His sacred paintings, in so far as can be judged from those which
remain, most, if not all, of which were done before he had reached the
age of thirty, possess similar qualities to those of his mural and historical
works, and had he but received some little encouragement from the
English court, he was capable of producing even finer masterpieces
than the " Meyer Madonna " during the seventeen or eighteen remain-
ing years of his life. In his " Passion " and kindred pictures the com-
position is usually admirable, and the subject treated with that strong
dramatic sense which has been noted already as one of the chief char-
acteristics of his frescoes, while in depth and earnestness of feeling
they fall but little short of the work of the greatest of the Italians.
In the Meyer and the Solothurn Madonnas there is an air of divine
tranquillity, and a loftiness and purity in the expression of spiritual
beauty, which are combined in the happiest and most exquisite way
with remarkable truth to nature, and vividness of accurate and sym-
pathetic portraiture in the figures both of the Virgin and the Divine
Child, and those, in the one case, of the kneeling donor and his family,
and, in the other, of the attendant saints. Added to these qualities,
the rich, subdued, and harmonious colour gives a still greater truth
and beauty to the whole. In the panel at Darmstadt, indeed, the
painter has reached the full perfection of his art, and that he painted
nothing more of this nature must always be a source of deep regret
to all who admire him.
In portraiture Holbein's genius reached its highest manifestations.
This gift was largely inherited from his father, but was carried to a
much greater pitch of excellence by the son. His technical methods,
too, were those of his father, and here again were developed by him
to a far greater refinement of touch and skill in modelling ; and to
these methods he remained constant throughout his life. There is a
BRILLIANCE OF HIS DRAUGHTSMANSHIP 3 1 7
striking contrast between the rapidity and brilliance of the draughts-
manship of the preliminary studies for his portraits and the patient,
concentrated, minute, and delicate brushwork of the finished portraits
themselves. In all his completed work he spared himself no pains
in the painting of the accessories and details, though in none of it,
brilliant and absolutely truthful as it is, is there any sense of mere dis-
play, any boastful attempt to show the world how clever he was. He
painted all such details with a loving care and an evident delight in
their beauty, and wrought them with a perfection and fidelity which
has rarely if ever been surpassed. This finish is carried in some of his
pictures to a point beyond which no Dutchman or Fleming of his own
or succeeding generations ever reached. Yet the elaboration of subor-
dinate things is never overdone ; his portraits are never overcrowded
with details of this nature in a way to draw the spectator's attention
from the main purpose of the work. This manipulative skill delights
and attracts, but is forgotten when the portrait itself is examined.
Without any apparent effort on the part of the painter, the sitter looks
out from the panel just as he did in life, set down without flattery, with
no harsh features softened, and with his character, seized with such
penetrative and imaginative power by Holbein, fixed for ever with un-
erring truth and errorless draughtsmanship for succeeding generations
to see and to admire. This effect of absolute truth of portraiture and
revelation of character, the one due to the wonderful delicacy, subtlety,
and expressiveness of his line, and the other to his sympathetic insight,
is obtained by what appear to be the simplest and most straightforward
methods. There is a dignity and reticence about the portraits which
is admirable. Without thought of self, he occupies himself entirely
with the truth as he sees it, and with his desire to realise it as com-
pletely as possible ; no brilliance of technical skill mars the self-restraint
with which he approaches his sitter. He puts little of himself into his
portraits, and leaves out little that is worth knowing about the sub-
jects of them. No great subtleties of light and shade are attempted,
and his colour, beautiful and true as it is, helps but does not over-
power his chief purpose — the complete realisation of the man both
in body and soul. Holbein was a painter whose keenness of obser-
vation was extraordinary ; he missed little or nothing, and saw much
that lesser painters would have ignored. With his smooth, fusing
methods of painting he reached to most marvellously delicate and
3 1 8 CONCLUSION
accurate modelling of form, which in its expressiveness is beyond
all words.1
As a draughtsman pure and simple he stands among the very
highest ; in some of the qualities of his line he has never been surpassed
or even equalled. In the Windsor and kindred drawings, preliminary
studies for his portraits, his genius finds its most perfect expression,
and these are, in many ways, the greatest of his works. Slight as
most of them are, they contain all the elements of great art. Every
fine quality, except colour, that is to be found in his finished por-
traiture is to be found here also, and more plainly to be seen, and pro-
duced without apparent effort or hesitation. The swiftness yet sureness
of his touch, the wonderful delicacy yet strength of his supple, forceful
line, its subtlety and flexibility, the penetrative insight, the freedom
from all traces of mannerism, and the perfect unity of brain, eye, and
hand shown in these drawings, combine to produce the most vivid
effect of truthful, living portraiture. His complete mastership is
revealed in every touch.
In the German school of painting Diirer was the last and the greatest
of the medievalists ; Holbein was the first and the greatest of those
who came completely under the sway of the new influences in art and life
which reached Germany from beyond the Alps. The art of these two
great masters is, in consequence, in many ways so divergent that it is
difficult to make any comparison between them. Holbein was the
first of the painters of northern Europe who was modern in the sense
of the term as we understand it to-day. Diirer was steeped in the
spirit of the older schools, both of thought and of art, a dreamer of
dreams, a weaver of fantasies, and much of his work had a spiritual
1 The writer finds it impossible to agree with a recent critic, M. de Wyzewa, who, in a review
of Dr. Ganz's Holbein, in the Revue des Deux Mondes, January 15, 1912, speaks of the " half-
confidences " of Holbein's portraiture, and holds that although the painter himself sees clearly
the inmost depths of his sitters' characters, he yet refrains from revealing them to us. When the
moment comes for laying bare their deepest feelings "the prudent Swabian workman, through
his instinctive reserve, holds back." In this respect, therefore, he compares him unfavourably
with such masters as Diirer, Rembrandt, and Velazquez, " who abandon themselves to their
genius for psychological divination," whereas Holbein refuses us access to the souls of his sitters,
though at the same time indicating that he himself has penetrated to the mysterious depths. He
speaks of this as his "professional hypocrisy," and says that he cannot be excused for thus con-
cealing the exact truth of the characters of the great personages who sat to him. He sees
similar traits in Holbein's sacred paintings, and this insensibility he regards as not real, but
feigned, springing from the intelligence rather than from the heart. Lovers of Holbein's art,
however, will find it difficult to follow him in his contention.
HOLBEIN AND DURER 319
passion which Holbein's lacked, while his art was imbued through and
through with the feeling of the Middle Ages. On the other hand,
one of the characteristic features of Holbein's work was its serenity
and saneness. As already pointed out, he had great imaginative
power, which he could use at times with dramatic intensity. Realism
in his painting reached a very high and at the same time a very noble
development. His delight in nature is evident in all that he did ;
he observed her minutely, and took the utmost pleasure in reproducing
her manifold beauties down to the smallest details, while his work was
filled with a frank delight in life and close sympathy with all things,
animate and inanimate, in the world around him. Philosophical
thought or theological subtleties left him untroubled. That he was
on the side of the Reformation is made clear by more than one of his
woodcut designs, but his share in the controversy was after all a minor
one, and marked by little or none of that passion which swayed the
more eager partisans on either side.
True child of the Renaissance as Holbein was, he was yet one of
the most original of artists. His strong individuality stamped every-
thing that he touched ; for though the influences under which he was
trained can be traced throughout his career, they in no way dominated
his genius, which found its own true expression. Circumstances
combined to give this originality the fullest play. Both in Basel and
in London there was no school of painting worthy of the name,
and the artists who worked there had little or nothing to teach him.
In both these cities it was he who was the master who towered
head and shoulders above his fellow-painters. In this way his art
developed upon personal and original lines until it attained that
greatness of style which is so marked a feature of everything that
he touched.
The art and character of these two great masters of the German
school is very happily contrasted by the late Lord Leighton in one of
his published addresses to the students of the Royal Academy. " Albert
Diirer," he says, " may be regarded as par excellence the typical German
artist — far more so than his great contemporary, Holbein. He was
a man of a strong and upright nature, bent on pure and high ideals,
a man ever seeking, if I may use his own characteristic expression, to
make known through his work the mysterious treasure that was laid
up in his heart ; he was a thinker, a theorist, and, as you know, a
320 CONCLUSION
writer ; like many of the great artists of the Renaissance, he was
steeped also in the love of Science. His work was in his own image ;
it was, like nearly all German Art, primarily ethic in its complexion ;
like all German Art it bore traces of foreign influence — drawn, in his
case, first from Flanders and later from Italy. In his work, as in all
German Art, the national character asserted itself above every trammel
of external influence. Superbly inexhaustible as a designer, as a
draughtsman he was powerful, thorough, and minute to a marvel, but
never without a certain almost caligraphic mannerism of hand, want-
ing in spontaneous simplicity — never broadly serene. In his colour
he was rich and vivid, not always unerring as to his harmonies, not
alluring in his execution — withal a giant. ... In Holbein we have a
complete contrast to the great Franconian of whom I have just spoken ;
a man not prone to theorise, not steeped in speculation, a dreamer of
no dreams ; without passion, but full of joyous fancies, he looked out
with serene eyes upon the world around him ; accepting Nature
without preoccupation or afterthought, but with a keen sense of all
her subtle beauties, loving her simply and for herself. As a draughts-
man he displayed a flow, a fullness of form, and an almost classic
restraint which are wanting in the work of Diirer, and are, indeed, not
found elsewhere in German Art. As a colourist, he had a keen sense
of the values of tone relations, a sense in which Diirer again was lack-
ing ; not so Teutonic in every way as the Nuremberg master, he
formed a link between the Italian and the German races. A less
powerful personality than Diirer, he was a far superior painter. Proud
may that country be indeed that counts two names so great in art." *
It is quite true that he was a better painter than Diirer, for his
mastery of the technical side of his art was complete, while his artistic
temperament found expression in many different branches of the
decorative arts and crafts. He was thus much more than a great
painter : he was a great artist and a great craftsman as well, for though
he did not actually cut the wood blocks he designed, or fashion the
actual cups of gold and silver for which he made the working draw-
ings, he had so perfect a knowledge of the practical side of the crafts,
and of the artistic capabilities and the limitations of the mediums in
which his designs were to be carried out, that he was indeed the
1 Leighton, Addresses delivered to the Students of the Royal Academy, 2nd edition, 1897,
pp. 305-6. (Dec. 9, 1893.)
RUSKIN ON HOLBEIN 321
" notable workman " which Erasmus called him. In all that he did,
the greatness and the individuality of his style, his power of dramatic
composition, the versatility of his imagination and his restraint in the
use of it, his serene outlook upon life, and the perfect and unerring
unison of his eye and hand, combine with his insight into character
and technical skill of the rarest quality to make him one of the few
great masters of the world.
Ruskin's judgment of him, when comparing him with Sir Joshua
Reynolds, is so true and so just, that, although so well-known, a
sentence from it may be quoted here in conclusion. " The work of
Holbein," he says, " is true and thorough, accomplished in the highest,
as the most literal sense, with a calm entireness of unaffected resolu-
tion which sacrifices nothing, forgets nothing, and fears nothing.
Holbein is complete ; what he sees, he sees with his whole soul ; what
he paints, he paints with his whole might." 1
1 Ruskin, " Sir Joshua and Holbein," in Cornhill Magazine, March i860.
VOL. II X
APPENDIX
(A) Early Drawing by Holbein in the Maximilians
Museum, Augsburg. (Vol. i. p. 43)
The drawing of " Calvary " in the Maximilians Museum, Augsburg
(Woltmann, 3), is probably the earliest one by Holbein of which we
have any knowledge. It is a silver-point drawing, touched with the
brush in brown, white being used for the high lights and red for the
representation of Christ's wounds. It is a carefully wrought, youthful
piece of work, at the same time showing considerable feeling in its
rendering of the sacred subject. The Cross rises on the left, turned
away from the spectator, so that the body of Christ is seen almost
in profile against the sky. Mary and John stand below on the right,
the former with hands clasped in prayer and head bent in grief. Lower
down the rock, in the centre, kneels Mary Magdalen with uplifted
arms, and on the left of the Cross a man is standing with his back to
the spectator, wearing a tall hat of " beaver " pattern. In the back-
ground beyond him is a second cross with one of the thieves, the
ladder still placed against it. Down below the heights there is a
glimpse of a mountain and buildings. This interesting early example
has been recently reproduced in the important publication of facsimiles
of the complete series of Holbein's drawings, now in the course of
appearing under the editorship of Dr. Ganz — Die Handzeichnungen
Hans Holbeins des Jiingeren, viii. 1.
(B) Designs for Painted Glass of the Lucerne
Period. (Vol. i. p. 79)
The design for painted glass with the arms of Hans Fleckenstein,
of Lucerne, in the Ducal Gallery, Brunswick (not in Woltmann), is
the earliest in date of the series of designs for this purpose in which
Holbein made such fine decorative use of the landsknechte with their
picturesque costumes as supporters of the shield bearing the coat of
arms of the patron for whom the glass was ordered. In the Flecken-
323
324 EARLY GLASS DESIGNS
stein design the warrior on the left is bearded, and wears a hat with
very large feathers, and a great sword, while a long lance is held aloft
in his right hand, his left resting on the top of the shield, towards
which he leans, and behind which his left leg is hidden. The man on
the right is younger and beardless. His head is turned over his
shoulder towards the right, and his flat black cap is worn jauntily over
one ear and covers one side of his face, while a large hat with a huge
mass of feathers is slung upon his back. His right hand rests on
his sword-hilt, and his left on the top of the shield. The background
is one of plain architecture, in striking contrast to the highly elaborated
ones to be seen in most of Holbein's glass designs produced after his
visit to Italy. A barrel-roof is supported by flat columns with a round
arch, across which two iron bars run, as in the Solothurn Madonna
picture. On either side of this arch, on the top of the columns, stand
figures of St. Barbara and St. Sebastian. The shield contains in two
of the quarterings the Fleckenstein " house-sign " surmounted by a
bar, the other two being filled with lozenge-shaped divisions. On the
band at the bottom, left empty for an inscription, is written " hans
Fleckenstein, 1517," and " J. Holbain," the signature not being in
the artist's own handwriting. It is reproduced by Dr. Ganz in Die
Handzeichnungen Hans Holbeins des J linger en, v. 4.
The fact that the landscape backgrounds in several of Holbein's
glass designs afford evidence of a journey across the Alps has been
touched upon in the text (see vol. i. p. yy), and further proof of this
is to be found in another design of this period, made, in all probability,
during a leisurely journey from Lucerne to Lombardy in 15 18. This
is the striking design representing the Banner-bearer of the Urseren
Valley, in the Uri district — the valley watered by the Reuss, in which
Andermatt is the chief village. This drawing, which is in the Royal
Print Room, Berlin, is mentioned by Woltmann, ii. p. 120, as, in his
opinion, not by Holbein, but by some " good Swiss master." The
landsknecht, a bearded man, stands full face, with legs stretched wide
apart, and the banner held aloft in his right hand. His left rests on
his hip, and he carries a great sword. This animated, vigorously
drawn figure is evidently a portrait. The banner, an important part
of the design, bears on the left the figure of a bishop with crozier in the
act of benediction, and on the right a church, with the bull of Uri in
the sky above it, one hoof resting on the steeple. In the background
EARLY GLASS DESIGNS 325
is represented the old pack-horse road over the St. Gotthard, up which
men are climbing with horses and mules loaded with barrels and bales.
On the summit rises the small church which is depicted on the banner.
The landscape is evidently one actually seen by the artist. The
setting is a very effective one, consisting of plain pillars and an arch,
the former with vine branches and bunches of grapes trained round
them in spirals, the leaves forming the capitals and bases, while other
branches stretch across the archway. Above the latter is a repre-
sentation of the Judgment of Paris, with the three nude goddesses
on the right, and Paris reclining on the ground on the left. Mercury,
holding the apple, and Venus, the outer figures of this group, are
placed upon the tops of the pillars on either side. The outlines
have been put in with a pen in brown, while the banner-bearer's
face has been finished in water-colours, and the background slightly
washed with green. Reproduced in Handzeichnungen Hans Holbeins
des Jilngeren, iv. 4.
The glass design containing the coat of arms of the Lachner family,
of Basel, in the Print Room of the National Museum, Stockholm (not
in Woltmann), is a year or two later in date, the elaborately imagined
architectural background indicating that it must have been made
shortly after Holbein's return from Italy, when the recollections of
the Lombardic buildings he had studied with such keen interest were
still fresh in his memory. On one side stands a young, beardless
warrior as shield-bearer, his face in profile to the right, his lance over
his shoulder, and his right hand on his hip. Opposite to him is the
completely nude figure of a woman, her face turned towards the spec-
tator, and both hands resting on the shield. Her hair hangs down
her back in two great plaits, which are fastened together at the ends
with a long loop. This is a realistic study from the life, and one of
the very few drawings of the nude by Holbein which remain. The
coat of arms on the curved Italian shield consists of a pair of out-
stretched wings, and these are repeated on the helmet which forms the
crest, from which masses of finely designed scroll-work fall on either
side. The two figures stand on a platform, below which are two crouch-
ing fauns holding a tablet for an inscription. The background, as
already stated, is very elaborate, consisting of an open loggia with a
roof like the later "St. Elizabeth " glass design (see vol. i. p, 149
and PL 44), and friezes and a semicircular arch supported by pairs
326 EARLY GLASS DESIGNS
of columns with grotesque capitals, the arch being decorated with a
band of ox-heads and foliage. Other friezes are covered with carved
leaf and scroll-work, and above them are grotesque sculptured figures
and roundels with heads. Through the openings at the back only
the sky is indicated. This is a fine design, more particularly in
the figure of the man, and in the helmet with its scroll-work. It is a
washed drawing, with the knight's face and hands and the body of
the woman put in with water-colour. Reproduced in Handzeich-
nungen Hans Holbeins des Jungeren, iv. 6.
(C) Early Drawings for Wall Paintings. (Vol. i. p. 101)
In addition to the studies for wall paintings made by Holbein
shortly after his return from Lucerne to Basel, described in vol. i.
pp. 98-101, there is another in the Ducal Gallery, Brunswick (Wolt-
mann, 127), representing the Virgin Mary, as Queen of Heaven, with
the Infant Christ in her arms, which is signed and dated " 1520, H. H."
Her long hair falls in curls over her shoulders, and a plain circular
halo is placed behind her crown. She is looking down upon the Child,
whom she holds with both hands, and he is smiling back at her. She
is placed in a perfectly plain architectural niche, with two empty circles
for medallions on either side. According to an inscription on the
back, this drawing, which is in black chalk washed with grey, was,
towards the end of the sixteenth century, in the possession of Daniel
Lindtmeyer, the glass painter of Schaffhausen. Reproduced in Hand-
zeichnungen Hans Holbeins des Jungeren, iv. 3.
(D) Glass Designs with the Coats of Arms of the Von
Andlau and Von Hewen Families. (Vol. i. p. 145)
A third design for painted glass, representing the martyrdom of
the Holy Richardis, wife of the Emperor Carl the Big, is of about the
same date, and very probably belongs to the same series, as the two
designs bearing the coats of arms of the Von Andlau and Von Hewen
families, the second of which is dated 1520. St. Richardis, wrongfully
accused of unfaithfulness, proved her innocence by submitting her-
self to the ordeal by fire. She was the patron saint of the convent
of Andlau in Alsace, which, according to the legend quoted by Dr.
EARLY GLASS DESIGNS 327
Paul Ganz, was erected upon ground which had been scraped up by a
bear. It is most probable, therefore, that Holbein's design was com-
missioned for the decoration of this particular religious house. The
drawing, which is in the Basel Gallery (Woltmann, 50), shows the
saint kneeling on the funeral pyre, her hands clasped in prayer, her
head bent, and her long curls falling below her waist. She wears a
large cross at her breast, and has a circular halo inscribed " s. rigardis
virgo." On the right is a small kneeling figure of an abbess or nun,
with open prayer-book, and on the left the bear of the legend. Two
flying angels, with draperies very effectively arranged, hold the martyr's
crown above her head. The ordeal takes place beneath a cupola,
with an opening in the centre, supported by pillars of fantastic design,
the bases of the nearer ones being decorated with medallions hanging
from chains. Below is the customary blank tablet for an inscription,
held by two grotesque sea-monsters with human heads. At the back,
seen through the open arcading of the building, there is a view of a
small walled town in a hilly country, with church and cloisters and
watch-towers, and, lower down, the red roofs of a cluster of houses.
This is one of the most charming of the numerous landscape back-
grounds which Holbein introduced into his glass designs and book
illustrations. The drawing is washed with grey, and the background
lightly touched in with water-colours. It is reproduced in Hand-
zeichnungen Hans Holbeins des Jungeren, xi. 8.
The Glass Designs of " The Passion of Christ "
(Vol. i. p. 156)
Miss Mary F. S. Hervey, in her Holbein's Ambassadors (p. 22,
note), draws attention to some cartoons for tapestry representing
scenes from the Passion designed by Holbein. The reference occurs
in a letter from Carlos de la Traverse, written from St. Ildefonse
in Spain in 1779 to M. d'Angeviller, in which he proposes that the
latter should buy the cartoons. The offer, however, was declined
on the ground that Holbein was " un peintre sec et demi-gothique "
(See Nouvelles Archives de V Art Francais, 2nd series, vol. i. pp. 258-62).
It is possible that these designs were not for tapestry but for glass,
and they may even have been the set in Sir Thomas Lawrence's col-
lection, now in the British Museum.
328 THE FAESCH MUSEUM
(E) The Faesch Museum. (Vol. i. pp. 88, 166-8, 180, and 239-41)
Among the miscellaneous contents of the Faesch Museum, formed
by Dr. Remigius Faesch, or Fasch, the most important are the few
works by and after Holbein. Most of these came to him by inherit-
ance from his grandfather, the earlier Remigius Faesch, burgomaster
of Basel, who married Rosa Irmi, the granddaughter of Jakob Meyer
zum Hasen, and so became possessed, not only of the double portrait
of Meyer and his wife, Dorothea Kannengiesser, painted in 1516, and
the two fine silver-point studies for the same, but also the famous Meyer
Madonna now at Darmstadt. This last picture, unfortunately for the
Basel Public Picture Collection, he sold to Lucas Iselin in 1606. Dr.
Faesch's father, Johann Rudolf Faesch (1574-1660), also burgomaster
of Basel, became in turn the owner of the Meyer portraits and drawings,
and he added a number of other pictures to the collection. He was
acquainted with the painter Bartholomaus Sarburgh, who from 1620
to 1628 was busily occupied in painting portraits in Basel, and to
whom, in 1621, he gave a commission for a likeness of his son Remigius,
an excellent work now in the Basel Gallery. (Reproduced by Dr.
Emil Major in the sixtieth annual report of the Basel Picture Collection,
1908.) From Sarburgh, when that painter was in Holland, Johann
Rudolf Faesch obtained the copies of Holbein's series of Prophets,
nine pairs (see vol. i. p. 88). The originals were in water-colour,
but were copied by Sarburgh in oil. He is said to have taken the
originals with him to the Netherlands, since which time all traces of
them have disappeared. These copies are in the depot of the Basel
Gallery ; two of the pairs are reproduced by Dr. Ganz in Holbein,
p. 191.
Remigius Faesch the second (1595-1667) became a doctor of law
and a professor in the Basel University. He was an ardent collector
throughout his life, not only of pictures, but of books, medals, examples
of goldsmiths' art, and antiquities. On the death of his father he be-
came the possessor of the Meyer portraits and the Sarburgh " Pro-
phets." To these he added a small square portrait of Erasmus of the
Holbein school, and in 1630, Johannes Ludin, a pupil of Sarburgh,
then in Belgium, copied for him the heads of Jakob Meyer's son and
daughter from the Meyer Madonna picture ; apparently not from
THE FAESCH MUSEUM 329
the original, but from the copy now in the Dresden Gallery, which,
according to Dr. Major, was most probably the work of Sarburgh
(see vol. i. pp. 239-41). In 1648 Johann Sixt Ringlin copied for him
one of the versions of the double portrait of Erasmus and Froben (see
vol. i. pp. 166-8). Again, in 1667, the year of Faesch's death, Ludin
presented him with a small portrait of Holbein which he had painted
from Hollar's etching dated 1641. Faesch also possessed a second
small portrait of Erasmus, copied from the roundel in the Basel Gallery,
several drawings of the Holbein school, and, among other things,
the original wood-block of the " Erasmus im Gehause." On his death
Faesch left his collections and the mansion containing them in trust
as a Museum, with usufruct to his descendants for so long as there
should be a doctor of law among the members of his family, failing
which everything was to become the property of the Basel University.
The last of these doctors of law was Johann Rudolf Faesch, who died
in 1823, when the Museum and its contents were handed over to the
University, the pictures, drawings, and engravings eventually finding
a permanent home in the Basel Public Picture Collection.
Dr. Remigius Faesch spent many years in the compilation of a
manuscript, in Latin, now in the University Library of Basel, which
he called " Humanae Industrie Monumenta." One section of this
deals briefly with the life of Holbein and with his chief works then in
Basel in the Amerbach Cabinet and Faesch's own possession, to which
reference has been made more than once in these pages. The original
text is given by Woltmann, ii. pp. 48-51, and extracts from it in Das
Fdschische Museum und die Fdschischen Inventare, by Dr. Emil Major,
which forms part of the Annual Report (1908) of the Basel Gallery,
already mentioned. It is from this exhaustive and highly interesting
account of the Faesch collections and the various inventories and lists,
printed in full, that the facts in this note have been taken.
The reference to the double-portrait of Erasmus and Froben in the
" Humance Industries Monumenta " is as follows :
" Erant 2 tabulae junctae, ligamentis ferreis ut aperiri et claudi potuerint, in
tabula dextra Effigies Johan. Frobenii Typography in altera Erasmi sine dubio
ab ipso Erasmo in gratiam et honorem Frobenii, quern impense amabat, curatse, et
eidem ab Erasmo oblatae, unde et eidem dextram cessit : Ex his tabulis nobis
exempla paravit pictor non imperitus Joh. Sixtus Ringlinus Basil, An. 1648, quae
extant inter effigies nostras."
330 THE FAESCH MUSEUM
Faesch's account of the sale of the Meyer Madonna runs thus : —
"An. 163 . . . suprad. pictor Le Blond hie a vidua et haeredibus Lucae Iselii
ad S. Martinum emit tabulam ligneam trium circiter ulnarum Basiliensium turn
in altitud. turn longitud. in qua adumbratus prasdictus Jac. Meierus Consul ex latere
dextra una cum filiis, ex opposito uxor cum filiabus omnes ad vivum depicti ad
altare procumbentes, unde habeo exempla filii et fiiiae in Belgio a Joh. Ludi pictore
ex ipsa tabula depicta. Solvit is Le Blond pro hac tabula IOOO Imperiales, et
postea triplo majoris vendidit Marise Mediceae Reginae Galliae viduae Regis Lud.
13 matri, dum in Belgio ageret, ubi et mortua : Quorsum postea pervenerit in-
certum. Tabula haec fuit Avi nostri Remigii Feschii Consulis, unde Lucas Iselius
earn impetravit pro Legato Regis Galliarum, uti ferebat, et persolvit pro ea Centum
Coronatos aureos soiares. An. circ. 1606."
In this paragraph Faesch speaks of Johannes Ludin as Ludi, but
in an earlier one, describing the portrait of Holbein after Hollar which
Ludin sent him, apparently as a new year's gift, he calls the painter
Joh. Lydio.
In an inventory drawn up early in the nineteenth century by the
last keeper of the Museum, Johann Rudolf Faesch, the Sarburgh
" Prophets " are described as follows :
"13 a 21. Ferners befinden sich in dem Faeschischen Museo noch hienach-
folgende Neun Gemahlde auf Tuch, welche von Bartholomaus von Saarbriicken
nach Holbeinischen Original Gemahlden copirt worden sind, solche werden von
Patin in dem Eingangs gemeldten Indice also beschrieben:
" ' Prophetae omnes majores & minores, in novem tabulis bicubitalibus, ita ut
binos quaevis illarum exhibeat, coloribus aqueis nullo admixto oleo depicti. Has
tabulas Bartholomaeus Sarbruck, Pictor eximius, in Belgium Basilea detulit, atque hie
illarum apographa manu sua depicta reliquit, quae servantur in Musaeo Feschiano.'
" Nach dieser Beschreibung waren also die Originalien mit Wasserfarb, die
Copien von Barth. v. Saarbriicken aber, so sich im Faeschischen Museo befinden,
sind in Oehl gemahlt. Die samtl. Propheten sind ganze Figuren u. die Tableaux
sind 3 Schuh 1^- Z. hochu. 2 S. 3^ Z. breit."
(F) Hans Holbein and Dr. Johann Fabri. (Vol. i. p. 175)
It is very probable that Holbein's absences from Basel in search
of work during his second sojourn in that city (1519-1526) were more
frequent than has been generally supposed. It is not to be expected
that many records of such journeys should remain, and for this reason
the recent discovery, by Dr. Hans Koegler, of such an absence during
1523 is of exceptional interest. His article, describing this discovery,
entitled " Hans Holbein d. J. und Dr. Johann Fabri," was published
HOLBEIN AND DR. J. FABRI 331
by him in Repertorium fiir Kunstwissenschaft, vol. xxxv. pts. 4 and 5,
(191 2), pp. 379-84. Fabri was Vicar-General of Constance, and after-
wards Bishop of Vienna, and a friend and correspondent of Erasmus.
During the autumn of 1523, at some place not yet identified, but evi-
dently in the neighbourhood of Constance, Holbein and Dr. Fabri
became acquainted, or renewed an earlier intercourse, for the Vicar-
General made use of him as the bearer of some letter, message of greet-
ing, or gift to Erasmus, and from the latter's reply in acknowledgment
it is to be gathered that the relationships between the painter and the
author of The Praise of Folly were very friendly ones. The letter
from Erasmus to Fabri, written in November or December 1523,
begins :
" Reverendo Domino, Joanni Fabro, Canonico et Vicario Constantien. domino
plurimum observando. — Salutem, vir amantissime, ex tua salutatione quam mihi
per Olpeium misisti, melius habui. Erat enim accurata, et veniebat ab amico, et
per hominem amicum. Spongiarum rursus tria milia sunt excusa, sic visum est
Frobenio . . . ," &c.
In this letter Fabri's messenger is spoken of as " Olpeius," and the
point for decision is whether this refers to Hans Holbein, or to a
second Olpeius occasionally mentioned in the correspondence of
Erasmus — one Severinus Olpeius, who acted as letter-carrier for
Erasmus more than once, and appears to have been in the employ of
the bookseller Koberger of Nuremberg. In one or two of the letters
of Erasmus the name " Olpeius " is undoubtedly intended for Holbein,
as in the one conveying his thanks to Sir Thomas More for the drawing
of the Family Group which More had sent to him by the hands of the
painter. In this letter, which is dated from Freiburg, September
1529 (see vol. i. p. 341), Erasmus says :
" Utinam liceat adhuc semel in vita videre amicos mihi charissimos, quos in
pictura quam Olpeius exhibuit, utcunque conspexi summa cum animi mei voluptate.
Bene vale cum tibi charissimis omnibus."
Again, in a second letter from Erasmus to Bonifacius Amerbach
written from Freiburg on April 10, 1533 (wrongly dated 1535 in the
manuscript), first published by Dr. C. Chr. Bernoulli in 1902 (see
below, Appendix (J) ), the " Olpeius " of whom the sage speaks so
severely was almost certainly Holbein. Dr. Koegler brings forward
convincing arguments to prove that the artist was also the " Olpeius "
332 HOLBEIN AND DR. J. FABRI
of the letter to Dr. Fabri, and that the place of encounter was some-
where in the Lake of Constance district. He also suggests that as
Dr. Fabri was connected in his official capacity with the Maria- Wall-
fahrts Church in Rickenbach, for which Holbein's earliest known
picture, the Virgin and Child of 15 14, was painted, and as he was also
the personal friend of the orderer of that little work, Canon Johann von
Botzheim of Constance, he must have been already acquainted with
Holbein. In any case, it seems certain that, thanks to Dr. Kcegler,
we have here definite, though scanty, information of one more of the
painter's wanderings in search of work.
(G) The Trade-mark of Reinhold Wolfe. (Vol. i. p. 202)
The charming device of boys throwing sticks at an apple tree,
which Holbein made for the publisher Reinhold Wolfe, seems to have
been familiar to most English schoolboys in the sixteenth and seven-
teenth centuries, as it was to be found in a Latin Grammar much in
use. There is an amusing reference to it in Henry Peacham's Com-
pleat Gentleman (reprint of the 1634 edition, Clarendon Press, 1906,
pp. 126-7). He says :
"Painting is a quality I love (I confesse) and admire in others, because ever
naturally from a child, I have beene addicted to the practice hereof: yet when I
was young I have beene cruelly beaten by ill and ignorant Schoolemasters, when
I have been taking, in white and blacke, the countenance of some one or other
(which I could doe at thirteene and foureteene yeeres of age : beside the Mappe of
any Towne according to Geometricall proportion, as I did of Cambridge when I
was of Trinity Colledge, and a Junior Sophister), yet could they never beate it out
of me. I remember one Master I had (and yet living not farre from 5. A/banes)
tooke me one time drawing out with my penne that peare-tree and boyes throwing
at it, at the end of the Latine Grammar: which hee perceiving, in a rage strooke
me with the great end of the rodde, and rent my paper, swearing it was the onely
way to teach me to robbe Orchards ; beside, that I was placed with him to be
made a Scholler and not a Painter, which I was very likely to doe ; when I well
remember he construed me the beginning of the first Ode in Horace, Edite, set ye
forth, Maecenas, the sports, atavis Regibus, of our ancient Kings : but leaving my
ingenious Master, to our purpose."
NICOLAS BELLIN OF MODENA 333
(H) Nicolas Bellin of Modena. (Vol. i. pp. 282-4)
(i.) Extract from a Letter from Sir John Wallop, ambassador to France, to Henry
VIII, respecting the extradition of " Blanche Rose" from France, and of
Nicolas Bellin from England, dated Mantes, 27 September 1540. {State
Papers, vol. viii. pt. v. cont., No. dcxxviii., p. 439.)
"... Which the Cardynall of Tornon confessed to be true, saying, ' his
{i.e. Blanche Rose) mother was Englissh, and duelled in Orleance, and in the
Cardynalles tyme of Yorke being brought uppe in England ' ; and with stayed,
saing that the said fellowe shoued hym many other thinges, that he cauled not to
remembraunce : and so left that pourposse, and axed me why Your Majestie delivered
not Modena, when he was send for, showing me what was the cause why they
desired hym so much, being uppon acompte of a houndreth thousand crownes, that
the President Jentill had begiled the King, not yet ended. ' Whye/ quod I, ' then,
if ye dyd extyme hym so moch, wherfore dyd ye not kipe hym {i.e. Blanche Rose),
that I demaunded, in prison, till ye had knowledge, what aunswar should be made
for the said Modena ; whom if ye had extymed, ye would have so doon ? but I
perceyve,' quod I, ' that ye thinke to have a greate personnaige of the said noughty
fellowe, who I ensure you to be of as ill qualities as canbe, and his father a poore
man ; and fourthre ye considre not howe gentelly the King my maister deliverd you
of late Adryan Cappes.' "
(ii.) Extract from a Letter from Sir John Wallop to Henry VIII, referring to the
work done at Fontainebleau by Nicolas Bellin, dated Melun, iyth November
1540. {State Papers, vol. viii. pt. v. cont., No. dcxlii., p. 484.)
"... and from thense browght me into his {i.e. Francis I) gallerey, keping
the key therof Hym self, like as Your Majestie useth, and so I shewed Hym, where-
with He toke plesur. And after that I had wel behold the said gallerey, me thought
it the most magnifique, that ever I sawe, the lenght and bredthe no man canne
better shewe Your Majestie then Modon, who wrought there in the begynnyng of the
same, being at that tyme nothing in the perfection, as it is nowe. The rowff therof
ys seeled with walnott tree, and made after an other forme then Your Majestie
useth, and wrought with woode of dyvers cullers, as before I have rehersed to Your
Majestie, and is partly gilt ; the pavement of the same is of woode, being wrought
muche after that sort ; the said gallerey is seeled rownde abowte, and fynely
wrowght three partes of it ; upon the fourthe parte is all antique of such stuff as
the said Modon makith Your Majesties Chemenyes ; and betwixt every windowe
standes grete anticall personages entier, and in dyvers places of the said gallerey
many fayre tables of stories, sett in, very fynely wrowgth, as Lucretia, and other,
as the said Modon can muche better declare the perfytnes of the hole to Your
Majestie, then I. And in the gallerey at St. James the like wold be wel made,
for it is bothe highe and large. Yf your pleasure be to have the paterne of this
here, I knowe right wel the Frenche King woll gladly geve it me."
334 THE MORE FAMILY GROUP
(I) The More Family Group. (Vol. i. pp. 291-302)
There is a very interesting manuscript book, dated 1859, in the
possession of Lord St. Oswald, which contains a descriptive catalogue
of the pictures at Nostell Priory, together with " Some brief Notices
of the sundry pictures of the Family of Sir Thomas More, Knt., Lord
High Chancellor of England, Temp. Henry VIII," from which, through
the courtesy of the owner, the writer is enabled to give some extracts.
It was written by Lord St. Oswald's grandfather, Mr. Charles Winn,
whose chief purpose seems to have been to controvert Horace Walpole's
adverse criticism, based on George Vertue's manuscript notes, of the
Nostell picture. Mr. Winn gives a short history and description of
the various versions of the Family Group. Speaking of the Nostel
Priory version, called throughout his notes the " Roper " picture,
he says :
" This picture formerly belonged to William Roper, Esqre., son of William
Roper, Esqre., Prothonotary of the Court of King's Bench, temp. Henry VIII, who
married Margaret, the oldest, and favourite daughter of the celebrated Sir Thos.
More, Knt., Lord High Chancellor of England ; and was painted for him by that
renowned artist Hans Holbein in the year 1530, as appears from the monogram
and date on the picture. It remained in this family till the death of Edwd. Roper,
the last in the direct male line of the Ropers of Well Hall, nr. Eltham, Co. of Kent,
and of St. Dunstans, nr. Canterbury; he had only one child, a daughter, who
married Charles Henshaw, Esqre., who on her father's death inherited all his pro-
perty. The issue of this marriage was three daughters, the eldest of whom married
Sir Edward Dering, Bart., of Surrenden Dering in the County of Kent ; the second
married Col. Strickland of Beverly, in the East Riding of the Co. of York ; and the
third, Susannah, married my great-grandfather, Sir Roland Winn, Bart., of Nostel,
in the West Riding of the Co. of York. Mrs. Strickland died without leaving issue,
and on the death of Mr. Henshaw, his two surviving daughters succeeded to his
real, as well as personal property. The Holbein picture was valued at ^3000, and
Sir Edward Dering preferring to have his share in money, my ancestor paid him
a moiety of the valuation, and thus became possessed of the picture, which was
conveyed to Nostel, where it still remains."
Mr. Winn was of opinion that the version, with life-size figures,
painted in distemper, which belonged to Andries de Loo, was not the
picture at Nostell, the latter being painted in oil. He considered that
the De Loo version was the one formerly at Heron in Essex (afterwards
at Thorndon — see vol. i. p. 300), and that it was purchased at De Loo's
death by Giles Heron, who married Sir Thomas More's second daughter,
THE MORE FAMILY GROUP 335
Cecilia. Heron Hall was the seat of his family, and the property
passed into the possession of the Tyrrell family by the marriage of Sir
John Tyrrell with Margaret, daughter and heiress of Sir William Heron,
of Heron, Kt. Quoting Walpole's statement that the Heron picture
" having been repainted, it is impossible to judge of its antiquity,"
he goes on to say that this " appears to me to go very far in proof of
the correctness of the opinion I have hazarded, as to who was the pur-
chaser of the De Loo picture, for it is hardly to be credited that had
this (Heron) picture been painted in oil colour it would have become
so injured as to require its being repainted to an extent to render it
impossible to judge of its antiquity." Mr. Winn thought that Holbein
himself must have sold the distemper version to De Loo — though why
he should do so it is not easy to imagine, as it is natural to suppose
that Sir Thomas More or some member of his family would have
retained it — and that the East Hendred picture, in Mr. Winn's time at
Barnborough Hall (see vol. i. p. 300), was the actual work painted by
Holbein for the Chancellor, either from the Basel sketch or the De Loo
example. It is not likely, he says, that Sir Thomas
" would have allowed the picture in Distemper to be disposed of to De Loo, 'till
he had secured a copy of it. I can hardly therefore entertain a doubt that Sir
Thomas did possess one of these large Family pieces, and that the picture at
Barnborough Hall is the identical one. John More had this picture conveyed to
Barnborough, when he took up his abode there on the death of Mr. Cresacre,
his wife's father."
The inference is that John More, as head of the family, inherited the
version of the Group expressly painted for his father. Mr. Winn says
of this picture that it is
" in the number and arrangement of the persons represented a facsimile of the
original sketch, or drawing, and I deem it far from improbable that it may be the
picture which was painted, by Holbein, for Sir Thomas ; for although it is now in
a very deplorable state, caused by most unpardonable neglect, yet there are parts
which shew that the picture, in its original state, was painted by no ' prentice hand.'
It is now in a low room panelled with oak, and has unfortunately been curtailed,
both in width, and depth, to fit it into the panel where it is placed, and this may
probably account for the absence of the monogram of the painter, and the date.
The present size of the picture is length, ten feet ; height, eight feet. The figures
represented are the size of life."
Of the Burford picture (see vol. i. pp. 301-2 and PI. 76) he says :
" This picture was formerly in the possession of a branch of the More family,
who resided at Gobions, or Gubbins, not far from Barnet, in Hertfordshire, for whom
336 THE MORE FAMILY GROUP
I have no doubt it was painted, and probably by Zuccaro, as it bears the date 1593 —
some of the figures are copied from one of the pictures already alluded to (most
likely from that at Barnborough) ; these are Sir John More, Knt., Sir Thomas
More, Knt., John More, Margaret Roper, Cecilia Heron, Elizabeth Dancey, and
Anne Cresacre. The other figures (four in number, whose names I have given
at page 12) are represented in the costume of the period in which the picture was
painted, viz. temp. Eliz. How this picture came into the possession of the Lenthall
family is not certain, but the last possessor of it, of that name, told a relative of
mine that it had been purchased by their ancestor the Speaker Lenthall, on the
sale of Gobions and its contents."
After pointing out the differences between the Roper picture, the
other versions, and the Basel sketch, Mr. Winn concludes by saying :
"There are other differences observable between the Sketch and the Roper
picture which though unimportant in themselves, yet when considered in connection
with those I have named, do I think afford most satisfactory proof that the Roper
picture is no copy, but that it is, as Vertue asserts, an original production by
Hans Holbein."
It is not possible, however, to follow Mr. Winn in every one of his
conclusions, which would necessitate the belief that Holbein himself
painted no less than three versions of the Family Group — the one in
distemper, which was sold by the artist to De Loo, and afterwards
purchased by Giles Heron, now so injured that "it is impossible to
judge of its authenticity " ; the one in oil painted for Sir Thomas,
which remained at Barnborough in the possession of John More and his
descendants, and has been cut down and subjected to " unpardonable
neglect " ; and the Roper picture now at Nostell Priory. It seems
almost certain that Holbein had no hand in the painting of the two
first, and that they are merely early copies or adaptations from the
Nostell picture, though at the same time it should be pointed out
that they follow the Basel sketch more closely than the latter, and do
not show, as it does, various alterations in the design, such as the intro-
duction of the figure of the secretary Harris. This affords some support
to the contention that they are of earlier date, or copied from some
earlier version, than the Roper canvas. The Basel sketch would not
be available for the purpose, as it was taken with him by Holbein
when he left England in 1528. Still, in spite of this, the fact remains
that the Nostell Priory version is the only one that has any pretensions
to be regarded, even in a small part, as an original work by Holbein,
and until further proof is forthcoming it is safest to conclude that
THE MORE FAMILY GROUP 337
Holbein, after making his preliminary studies, began a large canvas
which for some unknown reason was left by him in a very incomplete
state, and that Sir Thomas More had it finished by some other hand
in 1530, and that this picture was the one which came into De Loo's
possession, and is now at Nostell Priory.
One other point remains to be touched upon. Mr. Winn asserts
that in Vertue's opinion the Roper picture is an original work by
Holbein, and he quotes in support of this statement from a manu-
script by Vertue in his possession which he bought at the Walpole
sale. He gives several extracts from it, among them the following,
upon which, apparently, he bases his contention :
"But the original painting by Holbein of this family (More) has long been
preserved by the family of Roper at Eltham in Kent, and was till of late years
there to be seen, but of late at Greenwich in the King's House in the Park
inhabited by Sir John Jennings, the family of Roper having desired leave to place
it there till their house at Eltham was rebuilt."
There is, however, a second account of this picture by Vertue in his
diaries preserved in the British Museum (Add. MSS. 25071, f. 4), first
published by Mr. Lionel Cust in the Burlington Magazine, October
1912, pp. 43-4 ; and in this memorandum, in which the picture is
described in greater detail, there is no suggestion made that it is an
original work. Mr. Winn's manuscript appears to be rather earlier
in date. In it Vertue speaks of his examination as having been made
at Greenwich (" I compared the first sketch and the large picture
together at Greenwich " — the " first sketch " he speaks of being
Caroline Patin's engraving of the Basel drawing), but in the British
Museum memorandum he states that he examined it, at the request
of the Earl of Oxford, after it had been removed from Greenwich to
Sir Roland Winn's house in Soho Square, when he "in a more parti-
cular manner observd that the picture differs from the others, this
seeming to be the most compleated." He goes on to say :
" First that design at Basil, presented to Erasmus by Sr. Th. More, I conceive
to be the first sketch on lines on a sheet of paper, or Holbein's first draught, and
in this large painting of the Family containd the picture of Sir John Mores wife,
a young Lady to whom he was then lately married (and there is left out Margaret
Giggs) as in the design of the first, she only being a companion to his daughters
and a favorite of Mrs. More Sr. Thomas Lady. Then there is also another person
comeing in the room with srole in his hand — whose name is . . . Harisius . . .
VOL. II. Y
338 THE MORE FAMILY GROUP
famulus, and behind a person setting reading on a desk — at bottom are two dogs
favorites, probably put in afterwards by another hand. . . . There really does not
appear to be that certainty of drawing, strength of colouring, as in many other
pictures of Holben. Therefore in the oppinion of several judges & professors of
painting it is doubtful]."
He goes on to say :
" Upon another review of the Family peice of Sr. Thomas More — I observe that
the light & shade of the persons represented are various, which is not consistent
to nature nor practice in the art of painting, for as it is a view of this Family
represented at once, the light ought to proceed from one point throughout the whole
picture, which it doth not but some of the figures there represented, the light
proceeds from the right side and others from the left side. And the light on the
face of Sr. Thomas proceeds from the left and his father Sr. John is from the right.
And also the Lady of Sr. Tho. the light on her face proceeds from the left so in
several there is a disagrement of light and shade."
Vertue's explanation of the painting of the picture is that Holbein,
after taking various portraits of members of the More family, drew,
at Sir Thomas's request, a design for a big Family Group, but that
before a start could be made on the picture by the artist Henry VIII
paid a visit to Chelsea, and was at once so captivated by the examples
of Holbein's art which he saw there that he carried the painter off to
Court at once, and gave him so much to do that More's commission
had to be abandoned. Sir Thomas, therefore, "after 1530' em-
ployed someone else to paint the picture from the original design and
the finished family portraits, " perhaps, and not unlikely, some scholar
of Holbein's with his knowledge and consent," this pupil " so forward-
ing it with as much skill as he was able ready for Holbein to go over
again and review and finish it." This would be a matter of time, and
during the progress of the work several alterations and additions were
made, such as the introduction of the figure of Harris, which figure,
in Vertue's opinion, showed " most visible difference in painting and
drawing," so that it could not be copied from any painting by Holbein,
but was the original work of the assistant, who in this " ventured to
show all his skill with full liberty." In conclusion he remarks that
" Raphael made many designs in small which were executed in large
by his scholars, some before his death and some after," and suggests
that Holbein made the design for this Family Group with the same
intention — " Especially as it may be observd none of these faces,
hands coppyd from Holben's painted pictures are not labouriously
THE MORE FAMILY GROUP 339
finishd, but left broad and light, fitly disposed to receive any improv-
ments by Holbens hand — when, on the contrary, all the still life in the
picture, the Jewells, ornaments, gold are highly finished."
Since the Nostell Priory picture was photographed, thanks to the
kindness of Lord St. Oswald, for the purposes of this book, it has
undergone a thorough and very careful cleaning, with the result that
many details, previously almost obscured, can now be seen quite
clearly, while the general effect of the work as a whole has been greatly
enhanced. As noted in the text (see vol. i. pp. 295-6), the chief
points in which this picture differs from the Basel sketch is in the
change of position in the figures of Elizabeth Dancey and Margaret
Gigs, and the introduction of John Harris. Elizabeth Dancey, who
now stands next to Sir John More, is in exactly the same position and
dress as in the sketch, whereas Margaret Gigs, who now forms the
outer figure of the group on the left, is wearing a plain white head-
dress, as in the preliminary study at Windsor, in place of the angular
hood with black fall of the sketch ; and she now stands upright,
instead of stooping, with her right hand resting on the book, indicating
a passage with her forefinger. The secretary, John Harris, on the
opposite side of the picture, has been brought from within the inner
room, in which he was indicated with another person in the sketch,
and now leans against one of the posts of the " porch " within the
larger chamber, having a roll with seals in his right hand ; while his
companion is shown standing at the distant window, his back to the
spectator, reading a book he holds in both hands. The cleaning of
the picture has made clear the details of the furniture and various
objects placed about the room. The chief changes in these have been
already noted. The most important occurs in connection with the
large fitting or buffet on the left, which in the sketch appears as a
sideboard reaching to the ceiling, with panels of linen-work surmounted
by a carved canopy. In the picture this has been changed to a more
simple fitting or table, such as is shown in " The Two Ambassadors,"
covered with a Turkish cloth or carpet, the lower part of which forms
a cupboard, with a bottle and glass visible through one of the open
doors. Upon this, some of the plate, including the dish and the jug
with the cloth over it, have been retained, but pushed into the back-
ground, with the two musical instruments placed in front of them,
while to the single vase with flowers another has been added. One
340 PORTRAIT OF SIR T. MORE
of these holds lilies and carnations, and the other iris and columbines,
while the window-ledge on the extreme right, behind Lady More, has
now a large vase with flowers, instead of the jug, book, and flickering
candle. The clock is seen to be an astronomical one.
In the foreground, where rushes are roughly indicated, the small
footstool and the scattered books have been removed, their place
being taken by the two feebly-painted dogs. Happily, during the
recent cleaning, the larger and more painful of these has been care-
fully removed, to the very great advantage of the picture. Finally,
Lady More no longer kneels at a prie-dieu, but is seated, and the
chained monkey, instead of scrambling against her skirts, is placed
on its perch at her feet, looking at the spectator. The name and age
of each sitter is written over the head or across the dress, the one
over Margaret Gigs being in a different style of lettering from the
others. This last named is merely " Uxor Johannes Clements,"
whereas in the East Hendred version, which seems to have been
based more directly on the original design than that at Nostell Priory,
it is " Margareta Giga Mori Filiabus condiscipula et cognata, A° 22."
This has been taken to indicate that the East Hendred picture was
painted first, before the lady married John Clements.
: The Portrait of Sir Thomas More. (Vol. i. pp. 303-4)
This celebrated portrait, which has been in the possession of the
Huth family for so many years, is no longer in England. It was
purchased last year (1912) by Messrs. Knoedler, of Old Bond Street,
London, and is now in the collection of Mr. H. C. Frick, of New York.
It is deeply to be regretted that this fine example of Holbein's art,
and one of such great historical importance, has not found a final
resting-place in the National Gallery. According to report, the
purchase price was £50,000.
(J) Holbein's Return to England in 1532. (Vol. i. p. 352)
A letter from Erasmus to Bonifacius Amerbach, preserved among
the Basel manuscripts, appears to have reference to Holbein's second
journey to England, and at the same time to show that the relationships
between the philosopher and the painter were not, at that period at
least, entirely amicable ones. This letter, already referred to in
LORD ARUNDEL AND REMBRANDT 341
Appendix (F), was first published by Dr. C. Chr. Bernoulli in the Basel
Nachrichten, No. 296, 1902, and is dated Freiburg, 10th April 1535,
but the year-date, it is stated, is wrong, and should be 1533. The
exact meaning of the letter is not quite clear, but in it Erasmus com-
plains somewhat bitterly of foolish behaviour and needless delay of
more than a month in Antwerp on the part of " Olpeius," and of repre-
hensible conduct on his part towards certain people in England to whom
Erasmus had given him letters of introduction. It seems almost cer-
tain that in the " Olpeius " of this letter Holbein is intended. The
long stay in Antwerp of which Erasmus complains must have been
in 1532, and apparently it was not until the following spring that he
heard of it, after receiving letters of complaint about the painter from
one or more of his English correspondents. There is nothing in the
letter to indicate in what way Holbein deceived these unnamed friends
of Erasmus. The original text of the letter is as follows :
" Subornant te patronum, cui uni sciunt me nihil posse negare. Sic Olpeius
per te extorsit litteras in Angliam. At is resedit Antuerpiae supra mensem, diutius
mansurus, si invenisset fatuos. In Anglia decepit eos, quibus fuerat commendatus."
(K) Lord Arundel and Rembrandt as Collectors
of Holbein's Pictures. (Vol. ii. p. 66)
Several important pictures by Holbein appear to have been in
the Netherlands during the seventeenth century, and the Earl of
Arundel, through his friends and agents, made serious efforts to add
them to his collection, though in some instances the price asked was
too high for him. In this search for examples of Holbein's art he
received considerable assistance from Sir Dudley Carleton, English
minister at the Hague, to whom the Earl wrote, on 17th September
1619 : " I hear likewise, by many ways how careful your lordship is
to satisfy my foolish curiosity in inquiring for the pieces of Holbein."
Two years later, as already noted (see vol. i. p. 241), Carleton was en-
deavouring to obtain for him a picture by Holbein which may have
been the Meyer Madonna ; and in 1628 another fruitless attempt
was made to purchase the portrait of Morette (see vol. ii. pp. 65-6).
Again, on 25th April 1629, the Earl wrote to Sir Henry Vane respecting
" a book of Holbein." In the course of this letter he says :
" I must likewise give you very many thanks for your care concerning Bloome's
(Bloemaert's) painting and book of Holbein, and the King protests against any
342 SIR NICHOLAS POYNTZ
meddling with it, at 600/., which he says cost him but 200/. For the drawings
I hoped to have had them for 30/., but rather than fail, as I told you, I would go to
50/., but never think of 100/., nor 50/. offered without sure to have it; if he would
let it come, upon security to send it back, I should be glad, if not, let it rest."
What this book was it is now impossible to say, but it cannot have been
the one containing the Windsor drawings, which came to the Arundel
Collection from the Earl of Pembroke at about this time (see Salis-
bury's Original Unpublished Papers, &c, 1859, Nos. 44, 53, 55, and 57
in Appendix) . It may have been the little book of twenty-two designs
of the Passion of Christ which Lord Arundel showed to Sandrart (see
vol. ii. p. yy).
Another seventeenth- century collector of pictures, the great painter
Rembrandt, was an admirer of Holbein's work, and at the end
of his life, when his fine collection had been sold and scattered
for the benefit of his creditors, and his monetary troubles were thick
upon him, we find him, nevertheless, offering the large sum of one
thousand gulden for some picture by the master. The document
referring to this offer, dated 15th October 1666, three years before
Rembrandt died, is quoted by Dr. Bode in his Complete Works of
Rembrandt, 1906, vol. viii. pp. 296-7. It is a letter written by Anna
de Witt, of Dordrecht, in the course of which she says : " Whereas
the picture is by one of the greatest painters of his time, Holbein, who
also painted the picture of their ancestor ; for this Rembrandt offered
1000 gulden." This ancestor was Willem Schijverts van Merode,
and the picture appears to have been a votive one, in which he was
represented as the kneeling donor. Dr. Bode, however, suggests
that in all probability the picture .which Rembrandt was said to be so
anxious to possess was not by Holbein at all.
The Portraits of Sir Nicholas Poyntz. (Vol. ii. pp. 71-2)
Holbein's original painting of Sir Nicholas Poyntz, from which
various copies were made, appears to be the picture in the collection
of the Earl of Harrowby, at Sandon Hall, Stafford. This picture is
in close agreement with the one described by Woltmann, which was
exhibited in Paris, at the Exposition du Palais Bourbon, in 1874, by
the Marquis de la Rosiere, and photographed on that occasion by
Braun, but has since disappeared. Lord Harrowby's picture, which
VISIT TO JOINVILLE 343
bears the same inscription and three-line motto in French as the
examples mentioned in the text, is a good and undoubtedly genuine
work.
(L) Holbein's Visit to Joinville and Nancy in 1538.
(Vol. ii. pp. 148-9)
Letter from Anthoinette de Bourbon, Duchess of Guise, to her daughter Marie,
Queen of Scotland, respecting the visit of Hoby and Holbein tofoinville, dated
1st September (1538). Balcarres MSS., Advocates' Library, Edinburgh,
vol. ii., No. 20.
{Kindly transcribed by Mr. fames Melville)
" A la royne descosse.
" Madame Rouvray a este ycy quelque tans pour meyder a pourvoir aus affaire
de vous et de vostre filz ou fesons le myeux que povons Depuis que vous ay
escrit par vostre argentier franceis ny a ryens change fors la mort du bailly de
Dunoys Son filz a eu sa place du grant conseil et pourchast fort pour avoir le dit
baillyage Mons. vostre pere men a escrit affin je lavertyse comme il en pouret
faire Mon avys a este en escrire au presydent a Chateaudum affin quil luy manda
son avys et sy le dit filz estet capable pour lestre ou syl en connest aultre pleus
propre Je luy ay mende ansy que je ne connests le dit filz mais que javes fort
ouy louer lavocat de Chateaudum savent et de bon conseil et quyl conet pourpos
Je retires {?) ailleurs qui seret gros daumage pour la meson et que se pouret arestet
par sete offyce de bailly penses seret le proufit du lieu et des juges veu quy ly est
resydent et le filz du trespase nen et que laustre partission que Ion recommendet
pour mestre au servyce de la meson que Ion dit ausy homme de bien et de savoir
et demeurant a Chateaudum fut avocat set ung pour quy le presydent vous parllet
mais jen ay houblie le non Je ne ses encore quyl en ara este feit ledit Rouvray
sen retourne paser par Paris quy sara se quy ara este feit et vous escrira de tout
bien au long Sy croie il ne vous sara dire chose quy vous soit plus agreable que
la sente de nostre petit filz quy est ausy bonne que ly foystes onques touiours
bien rongneus mais il nen leyse a bien dormyr combien que quelquefois il vouldret
estre grate mais cella se pase legerement et sy menge fort bien Ion le mayne
souvent a lesbat quy me senble ly fait grant bien Je le vous souhete souvent il
me senble le trouvariez creu et devenu gros quant au reste de nostre menage
vostre seur y est touiours mallade de sa fievre et a este sete semayne pasee bien
mal dung fleux de ventre quy la fort afeyblie il y a bien huit jours puis elle bouge
pleus du lyst depuis hier le dit flux se comense a paser de la fievre je ny seu pas
grant amendement combien les mesdesins soyet davys elle sabregera pour se fleux
vostre frere Claude a este ausy mallade jusques a la mort dung fleux de sane
avesques la fievre continue dont il lest renchent par deus fois et estant en chemyn
pour revenyr ycy ou Mons. son pere le renvoyet a cuyde demeurer pres daultun
ou il est encore Je luy ay envoye ma litiere pour lamener Ion ma mande il est en
344 VISIT TO JOINVILLE
tout hors de denger et prest a senvenyr Vostre seur Anthoinette est ausy mallade
dune fievre et dung rume sy croie elle se portera bien les aultres se portet bien
Je vous avyse que madame vostre tante est mandee pour aller a la court a la venue
de la royne de Hongrie quy doit bientost estre a Compiegne ou le roy et toute la
court doit estre en peu de jours de moy jen seus escupee (?) pour lamour de mes
mallades il ny a que deus jours que le gentilhomme du roy dengletere quy fut au
Havre et le paintre ont este ycy le gentilhomme vynt vers moy fesent senblant
venyr de devers lenpereur et que ayent seu Louisse mallade navet voullu paser sens
lavoir affin en savoir dire des nouvelles au roy son mestre me priant il la puisse
voir se quy fit et estet le jour de sa fievre il luy tint pareil pourpos qua moy
puys ma dit questant sy pres de Lowayne avet envye daller jusques a Nency voir
le paiys Je me doute incontynent il y allet voir la demoyselle pour la tirer comme
les aultres et pour se envoy e a leur logis voir quy y estet et trouve le dit paintre y
estet et de fait ont este a Nency et y ont seiourne ung jour et ont este fort festus
et venet tous les repas le mestre dostel menger avesques luy avesque force presans
et bien trestes Volla se que jen ay encore seu au pis alle sy navyes pour voysine
vostre seur se pouret estre vostre cousine il se tient quelque pourpos lenpereur
offre reconpence pour la duche de Gueldres et que se fesant se pouret faire quelque
manage de la fille de Hongrie et de Mons. le marquys Mons. vostre pere entent
bien se fesant avoir sa part en la dite recompence Je vouldreis il en fusset bien
recompenses volla tout se que jay seu de nouveau depuis vous escryvys Je vous
mes tant de lettres a laventure que croy quelcune vous en pouront venyr Je bailie
seus ycy a Rouvray pour les bailler au bausquyer de Paris affin les vous faire
tenyr Je me doute que ne feres sy bonne diligence den mestre par pays que moy
car je ses bien que tenes de Mons. vostre pere et questes pareseuse a escrire sy
lair descosse ne vous a change Je nay encore eu que vos premyeres lettres il me
tarde bien savoir comme depuis vous seres portee II me sera grant joye pover
ouyr se set touiours bien Nostre Seigneur le veuille, et vous doint Madame longue
et bonne vie (set) se premyer de Sebtenbre de
vostre humble et bonne mere
Anthoinette de Bourbon
(M) Holbein's Studio in Whitehall. (Vol. ii. p. 185)
It was probably in Holbein's painting-room in Whitehall that the
incident occurred which set going the story told by Van Mander — a
story for which, no doubt, there was some foundation in truth — of
Holbein's violence towards a nobleman who insisted upon forcing his
way into the studio when the artist was engaged upon the portrait
of a lady, and who was, in consequence, thrown downstairs by the
infuriated painter. This story Walpole tells as follows :
" The writers of his life relate a story, which Vermander, his first biographer,
affirms came from Dr. Isely of Basil and from Amerbach . . . The story is, that
HOLBEIN IN WHITEHALL 345
one day as Holbein was privately drawing some lady's picture for the king, a great
lord forced himself into the chamber. Holbein threw him downstairs; the peer
cried out ; Holbein bolted himself in, escaped over the top of the house, and running
directly to the king, fell on his knees, and besought his Majesty to pardon him,
without declaring the offence. The king promised to forgive him if he would tell
the truth ; but soon began to repent, saying he should not easily overlook such
insults, and bade him wait in the apartment till he had learned more of the matter.
Immediately arrived the lord with his complaint, but sinking the provocation. At
first the monarch heard the story with temper, but broke out, reproaching the
nobleman with his want of truth, and adding, 'You have not to do with Holbein,
but with me ; I tell you, of seven peasants I can make as many lords, but not one
Holbein — begone, and remember, that if ever you pretend to revenge yourself,
I shall look on any injury offered to the painter as done to myself.' Henry's
behaviour is certainly the most probable part of the story." (See Walpole,
Anecdotes, &c, ed. Wornum, vol. i. pp. 71-2.)
Wornum gives a more elaborate account of the adventure (Holbein,
pp. 319-20), and it is also introduced by Richard Lovelace into his
poem called " Peinture : a Panegyrick to the Best Picture of Friend-
ship, Mr. Pet. Lilly " (Sir Peter Lely), included in Lucasta, first pub-
lished in 1649. The lines are as follows :
" When to our huffling Henry there complain'd
A grieved earl, that thought his honor stain'd :
Away (frown'd he), for your own safeties hast !
In one cheap hour ten coronets I'l cast :
But Holbeen's noble and prodigious worth
Onely the pangs of an whole age brings forth.
Henry ! a word so princely saving said,
It might new raise the ruins thou hast made."
(See Lucasta, ed. W. Carew Hazlitt, 1864, pp. 225-6.)
Another seventeenth-century poet who makes reference to Holbein
— in this instance it is the Dance of Death which is in question — is
Matthew Prior, who, in his Ode to the Memory of George Villiers, says :
" Our term of life depends not on our deed,
Before our birth our funeral was decreed ;
Nor aw'd by foresight, nor misled by chance,
Imperious Death directs the ebon lance,
Peoples great Henry's tombs, and leads up Holbein's Dance."
It has been suggested that Holbein's painting-room at Whitehall
was over the so-called Holbein Gate. Numerous engravings of this
gate were made in the seventeenth and eighteenth centuries, and repro-
346 BARBER-SURGEONS' PICTURE
ductions of several of these will be found in Whitehall : Historical and
Architectural Notes (Portfolio Monograph), by W. J. Loftie, F.S.A.,
1895, and in The Old Royal Palace of Whitehall, by Dr. Edgar Sheppard,
1901. Mr. Loftie reproduces an engraving of Whitehall showing the
Gate after a drawing by Hollar in the Pepysian Library, Cambridge ;
the " Banqueting Hall, Holbein's Gate, and Treasury," from the en-
graving by J. Silvestre, 1640 ; " Whitehall in 1724," from the engrav-
ing by J. Kip ; " Holbein's Gate," from an engraving by G. Vertue,
1725 ; and " Whitehall, from King Street," from an engraving by
R. Godfrey, 1775, after a drawing by T. Sandby, R.A. Dr. Sheppard
reproduces the engraving after Hollar, and the Kip and Vertue en-
gravings, and also " Whitehall," from a picture by Canaletto in the
possession of the Duke of Buccleuch ; and " A View of Whitehall with
the Holbein Gateway," from a drawing by Paul Sandby in the pos-
session of Mr. E. Gardner.
The Barber-Surgeons' Picture. (Vol. ii. p. 294)
A further proof of the high value placed upon this picture by the
Company in earlier days is to be found in John Strype's additions to
John Stow's Survey of the Cities of London and Westminster, in the
folio edition published in 1720. He says (Book hi. p. 128), in speaking
of " Barber-Chirurgeons' Hall " : — " In this Hall also is a large and
very curious Piece of K. Henry VIII reaching the Chirurgeons
their Charter ; with many other Persons of the said Company deli-
neated. It is said to be done by Hans Holben ; and some say, as
many Broad Pieces have been offered for the purchase of it as would
cover it."
SUMMARY LIST OF HOLBEIN'S CHIEF
PICTURES AND PORTRAITS
(Alphabetically arranged under the various countries)
The following list of Holbein's pictures and portraits in public
and private collections in England and abroad consists merely of the
title of each work, the date whenever known, and the number in
Woltmann's list, together with a reference to the page or pages and
the plates in the present book in which the particular picture is
described or reproduced. Holbein's very numerous drawings, studies,
and designs are not included. For these the reader must be referred to
the second volume of Dr. Woltmann's book, and, more particularly,
to the important publication, now in course of issue, under the editor-
ship of Dr. Paul Ganz, which is to include a facsimile reproduction of
every one of the master's drawings. Nor does this list include Holbein's
woodcuts and book illustrations, for which the student is referred to
Woltmann, Passavant, Butsch, and others.
AMERICA
Boston : Collection of Mrs. Gardner
Portrait of Sir William Butts, 1542-3.
Portrait of Lady Butts, 1542-3.
Until recently in the possession of the Pole-Carew family. W. 204, 205.
See vol. ii. pp. 209-10.
New York : Metropolitan Museum
Portrait of Benedikt von Hertenstein, 1517.
See vol. i. pp. 72-4, PI. 24. Not in Woltmann.
Portrait of Erasmus.
Recently purchased by the late Mr. J. Pierpont Morgan from the Howard
of Greystoke family. See vol. i. pp. 177-8. Not in Woltmann.
347
348 HOLBEIN'S CHIEF PICTURES
New York : Collection of Mr. Benjamin Altman
Portrait of a Lady, probably Margaret Wyat, Lady Lee.
Until recently in the collection of Major Charles Palmer, Windsor. See
vol. ii. pp. 82-3 ; PI. 15, vol. ii. Not in Woltmann.
New York : Collection of Mr. H. C. Frick
Portrait of Sir Thomas More, 1527.
Until recently in the possession of Mr. Edward Huth. See vol. i. pp. 303-4,
and vol. ii. p. 340. W. 207.
New York : Collection of the late Mr. J. Pierpont Morgan
Portrait of Mrs. Pemberton.
Miniature. See vol. ii. pp. 228-9 ; PI. 33, vol. ii. Not in Woltmann.
Portrait of Henry VIII.
Miniature. See vol. ii. pp. 235-6. W. 157.
Portrait of Sir Thomas More.
Miniature. See vol. i. pp. 306-7. Not in Woltmann.
Portrait of Thomas Cromwell.
Miniature. See vol. ii. pp. 231-2 ; PI. 31, vol. ii. Not in Woltmann.
New York : Collection of Mr. W. C. Vanderbilt
Portrait of Lady Guldeford.
Formerly in the collection of Mr. T. Frewen. See vol. i. pp. 320-1. W. 206.
Portrait of Lady Rich.
Now in an American collection. Until recently in the collection of Captain
H. R. Moseley, Buildwas Park, Shropshire. See vol. ii. p. 212. W. 128.
Canada : Collection of Mr. James H. Dunn
Portrait of Queen Catherine Howard, 1540-41.
See vol. ii. pp. 194-6. Not in Woltmann.
AUSTRIA-HUNGARY
Prague : Rudolphinum
Portrait of Lady Elizabeth Vaux.
Badly damaged, but possibly an original. See vol. ii. pp. 86-7. W. 243.
Vienna : Imperial Gallery
Portrait of Derich Tybis, of Duisburg, and the London Steelyard, 1533.
See vol. ii. pp. 20-1 ; PL 4, vol. ii. W. 251.
Portraits of an Official of the Court of Henry VIII, and his Wife, 1534.
Two small roundels. See vol. ii. pp. 70-1. W. 256, 257.
HOLBEIN'S CHIEF PICTURES 349
Portrait of Queen Jane Seymour, 1536.
Good copies at The Hague, Woburn Abbey, and elsewhere. See vol. ii.
pp. 11 1-2 ; PI. 20, vol. ii. W. 252.
Portrait of a Young Man, aged 28, 1541.
See vol. ii. pp. 202-3 ; PI. 27, vol. ii. W. 254.
Portrait of Dr. John Chamber, 1541-3.
See vol. ii. pp. 208-9 ; PI. 30, vol. ii. W. 255.
Portrait of an Unknown English Lady.
See vol. ii. p. 207 ; PI. 29, vol. ii. W. 253.
Vienna: Collection of Count Lanckoronski
Portrait of an Unknown English Lady.
See vol. ii. pp. 211-2. W. 260.
Vienna : Collection of Count Schonborn
Portrait of a Member of the Wedigh Family of Cologne, and of the London
Steelyard, 1532.
See vol. ii. pp. 15-16. W. 262.
BELGIUM
Brussels : Collection of Frau L. Goldschmidt-Przibram
Portrait of a Young Man holding a Carnation, 1533.
See vol. ii. p. 57. W. 261.
BRITISH ISLES
London : National Gallery
The Two Ambassadors : Jean de Dinteville and George de Serve, 1533.
See vol. ii. chap. xvii. ; PI. 9, vol. ii. W. 215.
Portrait of the Duchess of Milan, 1538.
See vol. ii. chap. xx. ; PL 21, vol. ii. W. 2.
Hampton Court Palace
Portrait of John Reskimer of Cornwall.
See vol. i. pp. 333-4. W. 162.
Christ appearing to Mary Magdalen ("Noli Me Tangere ").
See vol. i. pp. 95-8, PI. 32. Not in Woltmann.
Portrait of Johann Froben, printer of Basel.
Probably only a good old copy. See vol. ii. pp. 183-4. Not in Woltmann.
Portrait of Lady Elizabeth Vaux.
Probably only a good old copy. See vol. ii. pp. 86-7. W. 163.
350 HOLBEIN'S CHIEF PICTURES
Windsor Castle
Portrait of Sir Henry Guldeford, 1527.
See vol. i. pp. 317-20 ; PI. 80. W. 264.
Portrait of Hans of Antwerp, 1532.
See vol. ii. pp. 8-14; PI. 2, vol. ii. W. 265.
Portrait of Derich Born of Cologne, and of the London Steelyard, 1533.
See vol. ii. pp. 18-20 ; PI. 4, vol. ii. W. 266.
Portrait of Thomas Howard, Duke of Norfolk, about 1538-9.
See vol. ii. pp. 197-9 '> PI- 25> V0L n- W. 267.
Portrait of Henry Brandon.
Miniature. Date doubtful. See vol. ii. pp. 223-6 ; PI. 31, vol. ii. W. 268.
Portrait of Charles Brandon, 1541.
Miniature. See vol. ii. pp. 223-6 ; PI. 31, vol. ii. W. 269.
Portrait of Lady Audley.
Miniature. See vol. ii. pp. 222-3 ; PI- 3*, vol. ii. W. 270.
Portrait of Queen Catherine Howard.
Miniature. See vol. ii. pp. 192-3 ; PI. 31, vol. ii. W. 271.
King Solomon and the Queen of Sheba.
Miniature painting in grisaille, touched with colour and gold. See vol. ii.
pp. 262-3 ; PI. 40, vol. ii. W. 272.
Victoria and Albert Museum, South Kensington : Salting Collection
Portrait of Hans of Antwerp.
Small roundel. See vol. ii. p. 14. Not in Woltmann.
Portrait of Anne of Cleves.
Miniature. See vol. ii. pp. 181-2, and 236. W. 158.
National Gallery of Ireland, Dublin
Portrait of Sir Henry Wyat.
Replica of the portrait in the Louvre, Paris. See vol. i. p. 335. Not in
Woltmann.
Lambeth Palace
Portrait of William Warham, Archbishop of Canterbury, 1527.
See vol. i. pp. 322-3. W. 208.
Wallace Collection, Hertford House
Self-Portrait of Hans Holbein, 1543.
Miniature. See vol. ii. p. 230 ; PI. 33, vol. ii. See Woltmann, vol. ii. pp. 167-8.
Barber-Surgeons' Hall, London
Henry VIII granting a Charter of Incorporation to the Barber-Surgeons,
1543-
See vol. ii. pp. 289-44 ; PI. 94, vol. ii. W. 202.
HOLBEIN'S CHIEF PICTURES 351
Duke of Bedford, K.G., Woburn Abbey
Portrait of Sir John Russell, afterwards Earl of Bedford.
Attributed to Holbein. W. 358.
Portrait of Queen Jane Seymour.
Old copy. See vol. ii. p. 112.
Duke of Buccleuch, K.G., K.T., Dalkeith House
Portrait of Sir Nicholas Carew.
See vol. ii. pp. 88-9. W. 142.
Portrait of Queen Catherine Howard.
Miniature. See vol. ii. pp. 193-4. Not in Woltmann.
Other fine miniatures of Sir Thomas More, George Nevill, Lord Abergavenny,
Self-portrait of Holbein, 1543, Jane Seymour, Henry VIII, &c, attributed
to Holbein.
See vol. ii. chap. xxv.
Mr. Ayerst H. Buttery, London
Portrait of an Unknown English Lady.
Formerly in the possession of the Bodenham family. See vol. i. Postscript
to Chapter xiv. and PI. 95.
Earl of Caledon, Tyttenhanger Park
Portrait of Thomas Cromwell, 1532-34.
See vol. ii. pp. 58-61. W. 249.
Duke of Devonshire, G.C.V.O., Chatsworth
Henry VII and Henry VIII.
Cartoon for the left-hand half of the Whitehall Wall-painting. Until
recently at Hardwick Hall. See vol. ii. pp. 97-9 ; PI. 18, vol. ii. W. 167.
Miss Guest, of Inwood
Portrait of Sir Bryan Tuke.
Formerly in the Collection of the Duke of Westminster. See vol. i. pp. 331-3.
W. 213.
According to report, this picture is no longer in Miss Guest's possession,
having been sold during the present year (1913).
Lord Leconfield, Petworth
Portrait of Derich Berck of Cologne, and of the London Steelyard, 1536.
See vol. ii. pp. 22-3 ; PI. 5, vol. ii. W. 241.
Mr. Hamon le Strange
Portrait of Sir Thomas le Strange, 1536.
See vol. ii. pp. 85-6. Not in Woltmann.
352 HOLBEIN'S CHIEF PICTURES
Duke of Northumberland, K.G., Syon House
Portrait of Edward, Prince of Wales.
Attributed to Holbein. See vol. ii. p. 166. W. 246.
Messrs. Parkenthorpe, London
The More Family Group.
The Burford version, recently in the possession of Sir Hugh P. Lane. Copy,
with later additions, of the original painting. See vol. i. pp. 301-2 ;
PI. 76.
Earl of Radnor, Longford Castle
Portrait of Erasmus, 1523.
See vol. i. pp. 169-71 ; PI. 54. W. 214.
Sir John Ramsden, Bt., Bulstrode Park
Portrait of a Musician.
Formerly regarded as a portrait of Sir Nicholas Vaux. Considered by
Dr. Ganz to represent Jean de Dinteville. See vol. ii. pp. 52-3 ; PI. 10,
vol. ii. Not in Woltmann.
Lord Sackville, Knole Park
Portrait of Margaret Roper.
Inscribed " Queen Cathrine." Old copy of a lost original by Holbein, or
of the figure in the More Family Group. See vol. i. pp. 308-9.
Portrait of Queen Jane Seymour.
Good old copy of the portrait in Vienna. See vol. i. p. 112.
Lord St. Oswald, Nostell Priory
The More Family Group, 1527-30.
This picture, among the various existing versions of the More Family Group,
has the greatest claims to be regarded, at least in parts, as the original
work by Holbein. See vol. i. pp. 295-8 ; and vol. ii, pp. 334-40 ; PI. 75.
Earl Spencer, G.P.V.O., Althorp Park
Portrait of Henry VIII, about 1537.
See vol. ii. pp. 107-9; frontispiece, vol. ii. W. 1.
Portrait of Hans of Antwerp (?)
Small roundel. Attributed to Holbein. See vol. ii. pp. 14-15. Not in
Woltmann.
Mr. Vernon Watney
Portrait of an English Lady.
Miniature. Said to represent Queen Jane Seymour. See vol. ii. p. 237.
Not in Woltmann.
HOLBEIN'S CHIEF PICTURES 353
Earl of Yarborough
Portrait of Edward, Prince of Wales.
Fine old copy of the portrait at Hanover. See vol. ii. p. 165 ; PL 22, vol. ii.
FRANCE
Paris, the Louvre
Portrait of Erasmus, 1523.
See vol. i. pp. 172-3 ; PL 56. W. 224.
Portrait of William Warham, Archbishop of Canterbury, 1527.
See vol. i. p. 322 ; PL 83. W. 225.
Portrait of Niklaus Kratzer, the Astronomer, 1528.
See vol. i. pp. 327-30 ; PL 86. W. 226.
Portrait of Sir Henry Wyat, 1527-28.
See vol. i. pp. 335-6 ; PL 88. W. 227.
Portrait of Anne of Cleves, 1539.
See vol. ii. pp. 181-2 ; PL 24, vol. ii. W. 228.
Portrait of Sir Richard Southwell, 1536.
Attributed to Holbein, but probably only a fine old copy. See vol. ii. p. 85.
Not in Woltmann.
F. Engel-Gros Collection, Chateau de Ripaille, Thonon, Savoy
Portrait of a Man wearing the livery of Henry VIII.
Small roundel. See vol. ii. p. 71. Not in Woltmann.
GERMANY
Berlin, Kaiser Friedrich Museum
Portrait of Georg Gisze, member of the London Steelyard, 1532.
See vol. ii. pp. 4-8 ; PL i. vol. ii. W. 115.
Portrait of Hermann Hillebrandt Wedigh of Cologne, member of the London
Steelyard, 1533.
See vol. ii. pp. 16-17 > PI- 3- V0L n- W. 116.
Portrait of an Unknown Man, aged 37, 1541.
Possibly a Member of the Dutch family of Vos van Steenwyck. See vol. ii.
p. 202. W. 117.
Portrait of an Unknown Man, aged 54.
Formerly in the Collection of Sir J. E. Millais, Bt. See vol. ii. pp. 205-6 ;
PL 29, vol. ii. W. 211.
Brunswick, Royal Museum
Portrait of Cyriacus Fallen, member of the London Steelyard, 1533.
See vol. ii. p. 22. W. 126.
VOL. II. Z
354- HOLBEIN'S CHIEF PICTURES
Darmstadt, Grand-Ducal Palace
The Madonna and Child with the Family of Jakob Meyer, Burgomaster of Basel,
about 1526.
Commonly known as the Meyer Madonna. See vol. i. pp. 232-45 ; PI. 71.
W. 143.
Dresden, Royal Picture Gallery
Double Portrait of Thomas and John Godsalve, of Norwich, 1528.
See vol. i. pp. 325-7 ; PI. 84. W. 144.
Portrait of Charles de Solier, Sieur de Morette, ambassador to the English Court,
about 1534.
See vol. ii. pp. 63-70 ; PI. 12, vol. ii. W. 145.
The Madonna and Child with the Family of Jakob Meyer.
Long regarded as an original work by Holbein. Fine old copy of the
picture at Darmstadt. See vol. i. pp. 232-45. Not in Woltmann.
Frankfurt, Stadelsches Kunstinstitut
Portrait of Simon George, of Quocote.
See vol. ii. p. 207. W. 151.
Freiburg im Breisgau, University Chapel, Minster
The Adoration of the Shepherds.
The Adoration of the Kings.
Inner sides of the wings of the Oberried altar-piece. See vol. i. pp. 88-91 ;
PI. 29. W. 155, 156.
Hanover, Provinzial Museum
Portrait of Philip Melanchthon.
Small roundel. See vol. i. pp. 184-5 > PI- 5^- W. 164.
Portrait of Edward, Prince of Wales, 1538-9.
See vol. ii. p. 165. W. 165.
Karlsruhe, Grand-Ducal Picture Gallery
Christ Bearing the Cross, 15 15.
On the back the remains of a " Crowning with Thorns." See vol. i.
pp. 38-9. W. 168.
St. George, 1522.
St. Ursula, 1522.
Wings of an altar-piece. See vol. i. pp. 111-2. W. 169, 170.
HOLBEIN'S CHIEF PICTURES 355
Munich, Alte Pinakothek
Portrait of Derich Born, member of the London Steelyard, 1533.
Small oval, almost miniature in size. See vol. ii. p. 20. W. 220.
Portrait of Sir Bryan Tuke, with Death holding a Scythe and Hour-glass.
Probably a good old copy of the picture until recently in the possession of
Miss Guest of Inwood. See vol. i. pp. 331-3. W. 219.
Portrait of Derich Berck, member of the London Steelyard.
Copy of the picture belonging to Lord Leconfield, Petworth. See vol. ii.
p. 23. Not in Woltmann.
Munich, Bavarian National Museum
Portrait of a Man, aged 27.
Miniature, with the initials H. M. on either side of the head. See vol. ii.
pp. 241-2. Not in Woltmann.
HOLLAND
The Hague, Royal Picture Gallery
Portrait of a Young Lady, said to be Holbein's Wife.
See vol. i. pp. 106-8 ; PI. 37. W. 161.
Portrait of Robert Cheseman, 1533.
See vol. ii. pp. 54-7 ; PI. n, vol. ii. W. 159.
Portrait of an Unknown Man with a Falcon, aged 28, 1542.
See vol. ii. p. 203 ; PI. 28, vol. ii. W. 160.
Portrait of Queen Jane Seymour.
Good old copy of the picture at Vienna. See vol. ii. p. 113. Not in
Woltmann.
The Hague, Royal Palace
Portrait of a Boy.
Miniature. See vol. ii. pp. 229-30 ; PI. 31, vol. ii. Not in W'oltmann.
ITALY
Florence, Uffizi Gallery
Portrait of Sir Richard Southwell, 1536.
See vol. ii. pp. 84-5 ; PI. 16, vol. ii. W. 149.
Self-portrait of Hans Holbein, 1543.
See vol. ii. p. 213. W. 150.
Parma, Picture Gallery
Portrait of Erasmus, 1530.
Probably only a good old copy. See vol. i. p. 179. W. 240.
356 HOLBEIN'S CHIEF PICTURES
Rome, National Gallery
Portrait of Henry VIII, about 1539.
See vol. ii. pp. 102-3 ; PL 19, vol. ii. Not in Woltmann.
SPAIN
Madrid, Prado
Portrait of an Old Man.
Attributed to Holbein by some writers. Not by him according to Dr. Ganz.
See vol. i. pp. 334-5. W. 217.
SWITZERLAND
Basel, Public Picture Collection
Madonna and Child, 1514.
See vol. i. pp. 33-5 ; PL 7. Not in Woltmann.
Head of the Virgin.
Head of St. John.
See vol. i. pp. 37-8 ; PL 8. W. 7, 8.
The Lord's Supper.
Christ on the Mount of Olives.
Christ taken Prisoner.
The Scourging.
Pilate Washing his Hands.
The above five paintings, on canvas, formed part of a larger " Passion ':
series, probably for some Basel church, and are among the earliest works
upon which Holbein was engaged after he settled in that city. See vol. i.
pp. 39-42 ; Pis. 9 and 10. W. 24-8.
Schoolmaster's Sign, 15 16.
Painted on both sides. See vol. i. pp. 51-2 ; PL 14. W. 5, 6.
Double Portrait of the Burgomaster, Jakob Meyer, and his Wife Dorothea
Kannengiesser, 1516.
See vol. i. pp. 52-5 ; PL 15. W. 11.
Adam and Eve, 1517.
See vol. i. pp. 55-6 ; PL 17. W. 9.
Portrait of Bonifacius Amerbach, 15 19.
See vol. i. pp. 85-7 ; PL 28. W. 10.
The Dead Christ in the Tomb, 1521.
See vol. i. pp. 101-3 ; PL 35. W. 14.
HOLBEIN'S CHIEF PICTURES 357
Seven Fragments of three of the Wall-paintings in the Council Chamber of the
Basel Town Hall : —
Heads of the Samnite Ambassadors, 1521-2.
Head of Zaleucus of Locri, 1521-2.
Head of a Spectator in the same painting, 1521-2.
Head of King Rehoboam, 1530.
Hand of King Rehoboam, 1530.
Two groups of Heads in the same painting, 1530.
See vol. i. pp. 129-31 and 348 ; Pis. 40 and 92. W. 21.
Portrait of Erasmus, in profile, writing, 1523.
See vol. i. pp. 173-4. W. 12.
The Last Supper.
See vol. i. pp. 75-6 ; PI. 25. W. 16.
The Passion of Christ.
In eight scenes. The outer sides of the wings of an altar-piece. See vol. i.
pp. 91-5 ; PI. 30. W. 20.
Christ as the Man of Sorrows.
Mary as Mater Dolorosa.
Diptych, monochrome, with blue backgrounds.
See vol. i. pp. 98-9 ; PI. 33. W. 19.
Organ Doors formerly in Basel Minster.
See vol. i. p. 113. W. 4.
Magdalena Offenburg as Lai's Corinthiaca, 1526.
See vol. i. pp. 246-52 ; PI. 73. W. 17.
Magdalena Offenburg as Venus, 1526.
See vol. i. pp. 246-52 ; PI. 73. W. 18.
Holbein's Wife and Children, 1528-29.
See vol. i. pp. 343-6 ; PI. 90. W. 15.
Portrait of an Unknown Man.
See vol. ii. p. 211. W. 22.
Portrait of Erasmus.
Small roundel. See vol. i. p. 180 ; PI. 58. W. 13.
Portrait of a Young Woman, about 1528.
Unfinished. See vol. i. pp. 346-7 ; PI. 91. W. 46.
Printer's Mark of Johann Froben.
Portrait of Johann Froben.
Old copy. See vol. i. pp. 183-4.
Basel, University Library
Coat of Arms of Petrus Fabrinus, Rector of Basel University, 1523.
Coloured drawing in the University Matriculation Book. See vol. i.
pp. 145-6. W. 112.
358 HOLBEIN'S CHIEF PICTURES
Basel, Collection of Dr. Rudolph Geigy-Schlumberger
Portrait of a Man, said to be Holbein himself.
Water-colour drawing. See vol. ii. p. 213. Not in Woltmann.
Lucerne, Kunstverein
Fragments of the original wall-painting on the fagade of the Hertenstein House
in Lucerne : part of the subject of the Death of Lucretia, 15 17.
See vol. i. p. 68. W. 216.
SOLOTHURN, STADT MUSEUM
Madonna and Child, with St. Nicholas (or St. Martin) and St. Ursus, 1522.
See vol. i. pp. 103-n ; PL 36. W. 247.
Zurich, Schweizerisches Landesmuseum
Table painted with the legend of St. Nobod}^, hunting and jousting scenes, &c.,
for Hans Baer, of Basel, 1515.
See vol. i. pp. 35-7. W. 359.
PICTURES BY AND ATTRIBUTED TO HOLBEIN
AND OF HIS SCHOOL AND PERIOD
EXHIBITED AT VARIOUS EXHIBITIONS BETWEEN
1846 AND 1912
In almost all cases the attributions are those of the owners of the pictures
The spelling of the names is that of the original Catalogues
I. The British Institution, 1846
120
Charles Brandon, Duke of Suffolk,
Hans Holbein
Lord Willoughby
d- 1545
d'Eresby
122
Henry VIII
Mrs. Nicholl
131
The Infant Son of Charles Bran-
Lord Willoughby
don, Duke of Suffolk
d'Eresby
133
Edward VI when Prince of Wales
Earl of Hardwick
135
George Brooke, Lord Cobham,
d. 1558
F. L. Popham, Esq-
138
Queen Mary
Hon. C. C Cavendish,
M.P.
155
Thomas Howard, Duke of Norfolk,
d. 1554
Duke of Norfolk
l6l
Ambrose Dudley, Earl of Warwick,
Marquess of Salis-
d. 1589
bury, K.G.
162
William Warham, Archbishop of
Archbishop of Can-
Canterbury, d. 1532
terbury
163
The Family of Henry VII and
Lord Willoughby
Henry VIII, &c.
d'Eresby
176
Catherine de Bore, wife of Martin
Duke of Sutherland,
Luther
K.G.
178
Erasmus, d. 1536
!! »'
200
Lady Elizabeth Gray, wife of
Thomas, Lord Audley of War-
den, Lord Chancellor
Lord Braybrooke
205
Henry VIII granting the Charter
W ))
Barber - Surgeons'
to the Barber-Surgeons
Company
359
360 ART TREASURES, MANCHESTER, 1857
II. Art Treasures of the United Kingdom Collected at
Manchester in 1857
Old Masters
454 Portrait of Francis I (considered
by some to be a Janet)
455 King Henry VIII
456 Dr. Stokes (Bishop of London)
457 King Edward VI
459 Portrait of a Young Man holding
a Book
460 Portrait of Francis I, dated 1509,
No. 40 of Kensington Palace
Catalogue
466 Portrait of Erasmus. A copy of a Georg Pentz
picture by Holbein
533 The Root of Jesse Gerard Lucas Hore-
bout
Hans Holbein
Her Majesty (Hamp-
ton Court)
Earl of Warwick
11 11
Her Majesty (Wind-
sor Castle)
11 11
11 11
A. Barker, Esq.
Lord Ward
H.R.H. Prince Albert
Her Majesty (Wind-
sor Castle)
Sir Culling Eardly, Bt.
British Portrait Gallery
10
n
12
13
14
16
17
26
27
28
29
30
31
32
33
34
48
49
5°
51
52
Anne Boleyn
Anne Boleyn
Mary Boleyn
Lord Darnley and his Brother,
Charles Stuart
Mary Tudor and Charles Brandon,
Duke of Suffolk
Queen Katherine Parr
Earl of Surrey (Henry Howard),
the poet, in a red habit
Sir Nicholas Carew, K.G., in
armour
Sir Walter Raleigh
Lady Raleigh
The Darnley Cenotaph
Littleton
Earl of Southampton (Henry
Wriothesley), Shakespeare's
patron, with his Cat
Countess of Southampton (Eliza-
beth Vernon), wife of above
Bess of Hardwick (Building Bess)
William Camden in his dress as
Clarencieux
King Henry VIII
Cardinal Wolsey
Queen Jane Seymour
The Father of Sir Thomas More
holding a legal document
Sir Henry Guildford
Unknown
11
11
Lucas d'Heere
Unknown
Holbein
Earl of Denbigh
Earl of Warwick
11 11
Her Majesty (Hamp-
ton Court
Duke of Bedford
Earl of Denbigh
Her Majesty (Hamp-
ton Court)
Duke of Buccleuch
J. Gibson Craig, Esq.,
M.P.
11 >>
Duke of Richmond
Lord Lyttelton
Duke of Portland
Painter-Stainers' Com-
pany
Duke of Manchester
Christ Church, Oxford
Duke of Bedford
Earl of Pembroke
Her Majesty (Wind-
sor Castle)
SOUTH KENSINGTON,
Holbein
1862
361
53
Lady Grey (Margaret Wooton)
53A
Lady Jane Grey
54
King Edward VI. A knee-piece
55
King Edward VI at age of six
55*
King Edward VI
56
King Edward VI. Miniature full-
length
57
The Three Children of King
Henry VII
58
Queen Mary I and Philip II.
Small full-lengths, dated 1558
59
Queen Mary I, 1544
62
Queen Elizabeth. Miniature full-
length
66
William Warham, Archbishop of
Canterbury
67
The Princess Elizabeth, holding a
book
67A
Sir Thomas Gresham
x73
Lucius Cary, Viscount Falkland
Frame 7
Miniatures of the time of Henry
VII and Henry VIII, &c.
n 17
Henry VIII
51 JJ
Anne of Cleves
Mabuse
Lucas d'Heere
Holbein
Holbein
Duke of Portland
Earl of Stamford and
Warrington
Her Majesty (Wind-
sor Castle)
Earl of Yarborough
Duke of Northumber-
land
Duke of Portland
Earl of Pembroke
Duke of Bedford
Society of Antiquaries
Duke of Portland
Archbishop of Canter-
bury
Her Majesty (Hamp-
ton Court)
Earl of Stamford and
Warrington
Earl of Clarendon
Duke of Buccleuch
Col. Meyrick
III. Special Exhibition of Works of Art, South Kensington
Museum, June 1862. Section XI. Portrait Miniatures
1901
Mary Tudor, Queen of England
(oil)
Sir A. More
S. Addington, Esq.
J9°5
Thomas Cromwell, Earl of Essex
Holbein
j) >>
1932
Edward VI (sculptured in wood)
Unknown
T. L. Barwick Baker,
Esq.
*933
Henry VIII
>)
)> j>
J934
Henry, Duke of Richmond
>)
C. Sackville Bale, Esq.
!935
Jane Seymour
Hans Holbein
>) j>
1936
Mary Tudor
)> >>
>> )>
2018
Henry VII
)i >>
Duke of Buccleuch,
K.G.
2021
Henry VIII
>) >)
) » »j
2022
>>
)> )i
j> 11
2023
>>
>) )>
>> »
2024
Catherine of Aragon
n >>
ii >»
2025
>j )>
» )>
)i >>
2026
>> >>
>> >>
11 >i
2027
Mary Tudor
Sir A. More
>) >>
2029
Catherine Howard
Hans Holbein
)> )>
2030
>> >>
» >>
>j >i
2039
Prince Edward
» >?
ii it
362 SOUTH KENSINGTON, 1862 AND 1865
2040
2041
2042
2061
2216
2217
2218
2219
2220
2265
2341
2405
2458
2459
2477
2478
2544
2545
2581
2598
2599
2641
2651
2652
2726
2727
King Edward VI
Sir Thomas More
The Three Children of Henry VII
Jane Seymour
Queen Catherine Parr
Henry VIII, full-length (carved in
honestone)
Henry VIII (carved in boxwood)
An Unfinished Portrait
Henry VIII
Queen Catherine Howard
Sir Thomas More
Erasmus
Thomas Howard, 3rd Duke of
Norfolk
Thomas Howard, 4th Duke of
Norfolk
Henry VIII, 1526
Catherine of Aragon
Henry VIII and Jane Seymour
Mary Tudor, Queen of England
Philip II of Spain
Leonhardus Bur, aged 20, 1549
Henry VIII (oil on panel)
Sir John Boling Hatton and his
Mother, 1525
Catherine, Duchess of Suffolk, d.
1580
Thomas Cromwell, Earl of Essex
Hans Holbein
Ascribed to Mabuse
Hans Holbein
Hans Holbein
>) >>
Unknown
Hans Holbein
Attributed to Hol-
bein
i) >>
Hans Holbein
Sir A. More
Hans Holbein
Luis de Vargas
Hans Holbein
Lucas d'Heere
Hans Holbein
Unknown
Duke of Buccleuch,
K.G.
J. C. Dent, Esq.
)! ))
>> )>
Sir Wentworth Dilke,
Bt.
Earl of Gosford
Duke of Hamilton
SirW.T.Holburne.Bt.
R. S. Holford, Esq.
Hollingworth Mag-
niac, Esq.
i) >»
H. Danby Seymour,
Esq., M.P.
Rev. Walter Sneyd
Charles Sotheby, Esq.
Earl Spencer
» »
Lady Willoughby de
Eresbv
IV. Special Exhibition of Portrait Miniatures on Loan at the
South Kensington Museum, June 1865
273
Henry VIII (oil)
Unknown
Duke of Richmond
307
Mary Tudor, Queen of England
(oil)
Sir Thomas More (enamel)
Sir A. More
S. Addington, Esq.
601
H. Bone, R.A.
R. G. Clarke, Esq.
629
Mary, Queen of England (oil).
Dated 1555
Luis de Vargas
Rev. W. Sneyd
630
Philip II of Spain (oil)
») )>
»> >)
648
Katherine of Aragon (on vellum)
Hans Holbein
Hollingworth Magniac
Esq.
652
Henry VIII. Painted in 1526
?! >!
)> )>
763
Sir Nicholas Poyntz (vellum)
)) )1
R. S. Holford, Esq.,
M.P.
SOUTH KENSINGTON, 1865 AND 1866 363
95°
Sir John Boling Hatton and his
Mother. Dated 1525
Lucas d'Heere
Earl Spencer, K.G.
1029
Earl of Kildare (oil on panel)
Hans Holbein
Lord Boston
1146
Alicia, wife of Sir Thomas More
>> >)
J. Heywood Hawkins,
(on card)
Esq.
1282
i Mary Tudor, Queen of England
Unknown
1, >>
1381
Henry VIII (on ivory)
Copy after Holbein
Earl of Gosford
1388
John Calvin (oil on panel)
Hans Holbein
Earl Spencer, K.G.
1392
Henry VIII (oil on panel)
>) >)
John Jones, Esq.
1554
Thomas Howard, Duke of Nor-
>) ),
Philip Henry Howard,
folk (on panel)
Esq.
1590
{Catherine of Aragon (on vellum)
>, >>
Duke of Buccleuch,
K.G.
1603
Thomas, Lord Seymour of Sudeley
(on vellum)
)> >,
M ),
1643
Henry, Duke of Richmond (on
card)
Unknown
C. Sackville Bale, Esq.
1645
Lady Jane Seymour
Hans Holbein
>' »>
1651
Queen Mary I of England
J» >7
ii >,
1708
Margaret Tudor, Queen of Scot-
land
Unknown
Duke of Marlborough
1810
Ann of Cleves. Signed " H. H."
(oil on panel).
Hans Holbein
David Laing, Esq.
2082
Henry VIII (oil)
>> >,
Earl Spencer, K.G.
2093
Portrait of a Gentleman in a
>> »>
Earl of Shaftesbury,
furred gown
K.G.
2347
Henry VIII and Edward VI
Ascribed to N. Hil-
liard
Miss Wilson
2627
Portrait of a Lady, aged 23 (on
Hans Holbein
J. Heywood Hawkins,
card) (Mrs. Pemberton)
Esq.
265S
Hans Holbein, the Painter (oil)
>j }i
Earl Spencer, K.G.
2664
Edward VI. Dated 1547
,» >>
Henry F. Holt, Esq.
2946
Charles V, Emperor of Germany
Ascribed to Holbein
William Mosely, Esq.
2947
Anne Boleyn
1, >,
,> >,
2948
Henry VIII
'
)> n
V. First Special Exhibition of National Portraits ending with
the Reign of King James the Second, on Loan to the South
Kensington Museum, 1866
46
49
5°
52
53
54
Richard Fox, Bishop of Winches- I Johannes Corvus
ter. 30 x 19
Arthur, Prince of Wales.
15 XII
Richard Fox. 15" x 12"
Henry VII. 23" x 18"
Margaret Tudor, Queen of Scot-
land. 94" x 55"
Henry VII and Ferdinand of
Aragon. 32" x 31"
Hans Holbein
Unknown
Jan de Mabuse
Unknown
Hans Holbein
Corpus Christi Col-
lege, Oxford
Her Majesty (Wind-
sor Castle)
Richard Cholmonde-
ley, Esq.
Hon. Mrs. Greville
Howard
Her Majesty (Hamp-
ton Court)
Henry Musgrave, Esq.
364
SOUTH KENSINGTON, 1866
55
Henry VII. 22"xi7"
Unknown
Her Majesty (Wind-
sor Castle)
56
Henry VII. 20" x 16"
)>
Christ Church, Oxford
57
Queen Elizabeth of York.
2l"xi6"
The Three Children of Henry VII.
Ascribed to Mabuse
Mrs. B. J. P. Bastard.
58
Jan de Mabuse
Her Majesty (Hamp-
i3"*i7"
ton Court)
59
Henry VII. 22" x 25"
Unknown
Charles Winn, Esq.
60
John Colet, Dean of St. Paul's.
>>
University Library,
34 x 24
Cambridge
62
Henry VII. i^'xii"
it
Christ Church, Ox-
ford
63
James IV of Scotland. 14" x n"
Hans Holbein
Marquis of Lothian
68
Sir Thomas Wyat the Elder.
Unknown
Bodleian Library, Ox-
17 x 13
ford
7i
Edward Stafford, 3rd Duke of
Buckingham. 23" x 18"
Hans Holbein
Marquis of Hastings
72
Nicolas Kratzer. 34" x 27"
)> 11
Viscount Galway,
M.P.
73
Hans Holbein, signed " H. B.,
11 11
Her Majesty (Hamp-
a.d. 1539." 16" XI if
ton Court)
74
Queen Catherine of Aragon (Por-
trait of Lady Rich). 17" x 13"
11 11
Walter Moseley, Esq.
75
Henry VIII. 35" x 25"
11 11
Duke of Manchester
76
Charles Brandon, Duke of Suffolk,
and his wife, Princess Mary
Tudor. 30" x 22"
11 u
Mrs. Branfill
77
Henry VIII. 35"x27"
Unknown
Her Majesty (Wind-
sor Castle)
78
Queen Katherine of Aragon.
26 x 20
Queen Katherine of Aragon.
Hans Holbein
Countess Delawarr
79
Unknown
National Portrait Gal-
23 x 17
lery
80
Charles Brandon, Duke of Suffolk,
and the Princess Mary Tudor.
28" x 18"
Henry VIII. 25" x 22"
Jan de Mabuse
Earl of Yarborough
84
Hans Holbein
Lady Sophia Des
Vceux
86
William Warham, Archbishop of
11 11
Archbishop of Canter-
Canterbury. 32" x 26"
bury
88
John Fisher, Bishop of Rochester.
11 11
Major J. H. Brooks
89
13 x 10
Sir John More, Kt. 16" x 12"
11 n
W. B. Smythe, Esq.
90
Margaret Tudor, Queen of Scot-
land. i4"xn"
11 11
Marquis of Lothian
91
Sir Thomas Wyat the Elder.
Circular, diameter 19"
Unknown
Marquis of Hastings
92
John Fisher, Bishop of Rochester,
Hans Holbein
St. John's College,
aged 74. 28" x 24"
Cambridge
93
Thomas Cranmer, Archbishop of
11 11
Jesus College, Cam-
Canterbury
bridge
95
Henry Howard, Earl of Surrey.
11 11
Bodleian Library, Ox-
sr><6r
ford
96
Thomas Linacre, M.D., dated
Holbein or Metsys
Her Majesty (Wind-
1527. i8"xi3"
sor Castle)
SOUTH KENSINGTON, 1866
3^5
97
98
99
IOI
102
103
104
105
106
107
108
109
no
III
112
113
114
"5
Il8
119
I20
121
122
123
124
!25
126
129
Queen Anne Boleyn. 25" x 10"
Sir Thomas Wyat the Elder.
i5l"xi2"
Henry VIII. 36" x 35"
Sir Thomas Boleyn, Earl of Or-
monde and Wiltshire, K.G.,
aged 60. 20" x 17"
Henry Howard, Earl of Surrey,
K.G. 76"x52"
Queen Anne Boleyn. i4"x 12"
Christina of Denmark, Duchess of
Milan. 17" x 13"
Mary Boleyn. 14" x 12"
James V of Scotland and his
second Queen, Mary of Guise.
57"x43"
Queen Anne Boleyn, dated 1530,
"H. B." 33" x 23"
Sir Richard Southwell, Kt.
811 //
x 14
Henry VIII. 39" x 29"
Sir William Butts, Kt. 18" x 14"
Sir Nicholas (called "William")
Poyntz, dated 1535. Canvas.
_ // off
27 X 18
Sir Richard Southwell, painted in
1835. 22"xi8"
Thomas Cromwell, Earl of Essex.
i4"xii"
Queen Anne Boleyn. 10 %' x 8"
Lady Butts. 18" x 14"
Henry VIII. 35" x 27"
Queen Jane Seymour. J4"xn"
Mary Tudor, Queen of France.
er x 5r
Henry Howard, Earl of Surrey.
Dated 1546. Canvas, 81" x 51"
Joanna FitzAlan, Lady Aberga-
venny. She died before 15 19.
^ 16" x 22"
Charles Brandon, Duke of Suffolk.
7" x 6"
Henry VIII. 28" x 22"
Queen Jane Seymour. 24" x 19"
Thomas Cromwell, Earl of Essex.
30" x 24!"
Sir Henry Guildford, Kt.
34"x25"
Unknown
Hon. Mrs. Greville
Howard
>>
John Bruce, Esq.
it
Earl of Warwick
Hans Holbein
W. B. Stopford, Esq.
>j i)
Her Majesty (Hamp-
ton Court)
Unknown
Earl of Warwick
Hans Holbein
Her Majesty (Wind-
sor Castle)
Unknown
Earl of Warwick
>)
Duke of Devonshire,
K.G.
Hans Holbein
Sir Montague J. Chol-
meley, Bt., M.P.
j> n
H. E. Chetwynd-
Stapylton, Esq.
»> >>
Her Majesty (Wind-
sor Castle)
>> 11
W. H. Pole-Carew,
Esq.
Unknown
Marquis of Ormonde
Michell, after
bein
Hans Holbein
Hoi-
n
Unknown
Unknown
Hans Holbein
Unknown
Hans Holbein
Unknown
Hans Holbein
Ralph N. Wornum,
Esq.
Duke of Manchester
Earl of Denbigh
W. H. Pole-Carew,
Esq.
Viscount Galway,
M.P.
Duke of Northumber-
land
Earl Brownlow
Countess Delawarr
John Webb, Esq.
Earl Brownlow
Her Majesty (Hamp-
ton Court)
Countess Delawarr
John Webb, Esq.
366
SOUTH KENSINGTON, 1866
131
132
133
134
135
13&
141
142
143
144
146
149
150
151
152
153
154
'56
157
159
161
162
163
165
167
170
172
i73
175
176
177
179
180
Queen Katherine Parr. 70" x 34"
Queen Anne of Cleves. 28" x 22"
Sir Henry Wyat, Kt. 30" x 24"
Henry VII and Henry VIII.
Cartoon, 102" x 54"
Henry VIII and Jane Seymour,
&c. 39" x 36"
Will Somers. 28" x 23^"
Sir William Sidney, Kt. "Hol-
bein f. 1523." 48"x38"
Thomas Cranmer. Canvas,
36 x 29
Erasmus. Dated 1537. 23" x 18"
Henry VIII. 92" x 53"
Henry VIII. 24" x 19"
Sir Henry Guildford, Kt.
32" x 26"
Sir John More and Sir Thomas
More. Dated 1530. Canvas,
55"x48"
Sir Thomas Pope. 47" x 33"
Henry VIII, Princess Mary, and
Will Somers. Canvas, 63" x 50"
Edward Stanley, 3rd Earl of
Derby, KG. i3"xio"
Sir John Cheke, Kt
Henry VIII. 30" x 24
Sir Thomas More. 29" x 23"
William, 1st Lord Paget.
i2i"x9i"
Sir John Thynne, Kt. Dated
1566. 5o"x39"
Sir Nicholas Carew. 42" x 32"
Sir Thomas More and his Family.
Canvas, 138" x 99"
Thomas Howard, 3rd Duke of
Norfolk, K.G. 3o"x22//
Henry VIII. Oval, 29" x 24"
Henry VIII and his Family.
Canvas, 138" x 66"
Edward VI. 40" x 32"
Sir Thomas Smith, Kt. 1856.
29 X 2l\
Edward VI. Dated 1546.
II XII
Edward VI. 22J" x 16J"
Edward VI. Aged 9. 20" x 16"
Edward VI. 40" x 30"
Edward VI. Dated 1547.
28"x2l"
Hans Holbein
Unknown
Hans Holbein
Van Remee, after
Holbein
Hans Holbein
13- *92l"
G. Pencz
Hans Holbein
Unknown
Hans Holbein
11 >)
Unknown
Hans Holbein
51 >)
Unknown
Hans Holbein
F. Pourbus
Hans Holbein
Unknown
Hans Holbein
P. Fischer, after
Holbein
Hans Holbein
Richard Booth, Esq.
Charles Morrison,
Esq.
Earl of Romney
Duke of Devonshire,
K.G.
Her Majesty (Hamp-
ton Court)
') >>
Lord De LTsle and
Dudley
Captain Byng
Her Majesty (Windsor
Castle)
H. Danny Seymour,
Esq., M.P.
Royal College of Sur-
geons
Her Majesty (Windsor
Castle)
Sir Henry Ralph
Vane, Bt.
Countess of Caledon
Earl Spencer, K.G.
Earl of Derby, K.G.
Duke of Manchester.
Christ Church, Oxford
Henry Huth, Esq.
Duke of Manchester
Marquis of Bath
Earl of Yarborough
Charles Winn, Esq.
Her Majesty (Windsor
Castle)
Andrew Fountaine,
Esq.
Her Majesty (Hamp-
ton Court)
j> »
Eton College
Earl of Hardwicke
Earl of Yarborough
Christ's Hospital
5) 11
Duke of Manchester
SOUTH KENSINGTON, 1866 AND 1868 367
181 I Thomas, Lord Seymour of Sude-
ley, K.G. 23"xi7"
182 Sir Thomas Wyat the Younger.
Circular, 15" diam.
187 Edward VI. Canvas, 26" x 21"
192 Edward VI presenting Charters.
Canvas, 106" x 115"
202 Stephen Gardiner, Bishop of
Winchester. 13" x 10"
208 Princess Mary Tudor, afterwards
Queen Mary. Dated at back
1544. 12 x 9
236 Margaret Douglas, Countess of
Lennox. Dated 1572.
92 x 54
247 Queen Elizabeth. Aged 16.
42 x3i
302 Ambrose Dudley, Earl of Warwick.
37" x 28"
364 Sir William Harris. Dated 1596.
34"x28"
371 Sir John Spencer. Dated 1590.
Canvas, 35" x 28"
373 Admiral Sir John Wallop, K.G.
24/,XI7"
374 Lady Harris. 34" x 27"
Hans Holbein
Unknown
>>
Hans Holbein
)> >)
Gerard Lucas Hore-
bout
G. Stretes
Hans Holbein
Gerard Lucas Hore-
bout
Marquis of Bath
Earl of Romney
King's College, Cam-
bridge
Bridewell Hospital
Lord Taunton
Marquis of Exeter,
K.G.
Her Majesty (Hamp-
ton Court)
Her Majesty (St.
James's Palace)
Marquis of Salisbury,
K C
Rev. J. M. St. Clere
Raymond
Earl Spencer, K.G.
Earl of Portsmouth
Rev. J. M. St. Clere
Raymond
VI. Third and Concluding Exhibition of National Portraits
on Loan to the South Kensington Museum, April 1868
625
626
627
628
629
639
651
655
656
657
659
Sir Brian Tuke, Kt. 19" x 15"
Henry Howard, Earl of Surrey,
and a Lady, supposed to be the
Fair Geraldine. 6£" x 4%"
Edward Seymour, Duke of Somer-
set, K.G. Q" x 7"
John Reskimer. 18 x 13"
William West, Lord Delawarr.
52"><3i"
Queen Katherine Parr. 14" x 10"
Edward VI. Aged 2. 52*x3o"
Sir John Bourchier, 2nd Baron
Berners. 24" x 20"
John Stokesley, Bishop of London,
2o"xi5"
Edward VI. 5i"x32"
Lady Guildeford. Dated 1527.
34"x27"
Hans Holbein
Ascribed to Holbein
Hans Holbein
Ascribed to Amber-
ger
Hans Holbein
5>
Marquis of Westmin-
ster, K.G.
Lord Taunton
Duke of Northumber-
land
Her Majesty (Hamp-
ton Court)
R. S. Holford, Esq.,
M.P.
Sir G. R. Osborn, Bt.
Duke of Northumber-
land
Lord Berners
Her Majesty (Wind-
sor Castle)
Sir G. R. Osborn, Bt.
Thomas Frewen,Esq.
368
ROYAL ACADEMY, 1870-72
VII. Royal Academy of Arts: Winter Exhibitions of Works
by the Old Masters, 1870-1912
1870
23
108
in
120
147
152
1871
iS3
292
296
1872
52
66
94
96
138
213
214
The First Lord De la Warr.
Panel, 52" 'x 30J"
Portrait, with a Manuscript.
Panel, 24" x 18"
Portraitof John, Elector of Saxony.
Panel, 24" x 18 J"
Portrait of Sir Thomas More.
Panel, 29" x 23I"
Portrait of Edwaid VI. Panel,
5I"X29"
Portrait of a Youth. Panel,
23r*i7r
Portrait of Thomas Howard,
3rd Duke of Norfolk. Panel,
ft //
31 x 24
Portrait of Geronimo Deodati,
murdered at Antwerp 155 1.
Panel, 12" x8|"
Portrait of Francis I. Panel,
28" x 23"
A Portrait of a Man. Panel,
rt _tt
20 x 15
Portrait of Lady Heneage, Cousin
of Ann Boleyn. Panel,
Portrait of Warham, Archbishop
of Canterbury. Panel,
32 x 25J
Portrait of Sir William Butts, Kt,
principal Physician to Henry
VIII. Panel, 18" x i4£
Portrait of Lady Butts. Panel,
18" x r4J"
Portrait of Sir Henry Guildford,
K.G., Master of the Horse to
Henry VIII. Panel, 32" x 26"
Portrait of John Reskimeer, a
Cornish Gentleman. Panel,
J/2
x 12I"
Portrait of Dr. Thomas Linacre,
Physician to Henry VII and
Henry VIII. Founded the Col-
lege of Physicians, and was its
First President. Panel,
10
225
" Noli
292
I" x »i"
Me
1" x 36f "
Tangere." Panel,
Hans Holbein
R. S. Holford, Esq.
Her Majesty (Wind-
sor Castle)
R. S. Holford, Esq.
Henry Huth, Esq.
Duke of Northumber-
land
Her Majesty (Wind-
sor Castle)
J. H. Anderdon, Esq.
Earl of Dudley
J. E. Millais, Esq.,
R.A.
J. C. Hanford, Esq.
Archbishop of Canter-
bury
W. H. Pole-Care w,
Esq.
Her Majesty (Wind-
sor Castle)
Her Majesty (Hamp-
ton Court)
W. Fuller Maitland,
Esq.
Her Majesty (Hamp-
ton Court)
ROYAL ACADEMY, 1873-79
369
1873
114
175
178
198
1875
167
179
1876
66
173
1877
146
171
184
232
249
1878
217
224
1879
212
Case F. i
„ 8
» 9
The Two Ambassadors. Panel,
8i"x83"
^Egidius, the Friend of Erasmus.
Panel, 29" x 20"
Portrait of Erasmus, signed
"Johannes Holbein, 1523."
Panel, 29" x 20"
Portrait of a Young Man in a
Green Striped Dress. Panel,
i7r*i3"
William Tell, an imaginary Por-
trait. Panel, 31" x 27"
Portrait of King Edward VI.
Panel 22^" x i6±"
Portrait of Mary Queen of Scots.
Panel, 39" x 30"
Portrait of the Three Children
of Christian II of Denmark.
Panel, 14" x i8|"
Portrait of Anne Roper (also
thought to be a portrait of
Margaret, Countess of Rich-
mond and Derby, mother of
Henry VII, by Mabuse).
Panel, 14" x 10"
Portrait of Queen Mary. Signed
and dated 1554- Panel,
4i"x3i"
Portrait of King Edward VI.
Panel, 27!" x 20"
Portrait of a Gentleman, aged 48.
Dated 1547. Panel, 31" x 25"
Portrait of King Henry VIII.
Canvas, 46" x 37"
The Wheel of Fortune. Dated
1533. Distemper on canvas.
28" x i8f"
Portrait of Geronimo Deodati.
Panel, i2i"x3£"
Portrait of Queen Mary. Panel,
X 6
Queen Katherine of Aragon.
Miniature
Edward VI. Miniature
Queen Katherine of Aragon.
Miniature
Queen Elizabeth. Miniature
Edward VI as a Boy. Miniature
VOL. II.
Hans Holbein
?> >>
)> >>
)> >)
>> >i
)> i>
Lucas d'Heere
Mabuse
Hans Holbein
Lucas d'Heere
Hans Holbein
)> >)
Hans Holbein
Attributed to Hans
Holbein
Unknown
From a picture by
Holbein
Holbein
John Bettes
Hans Holbein
The Earl of Radnor
George P. Boyce,
Esq.
Sir W. Miles, Bt.
Earl of Yarborough
Earl of Radnor
Lord Methuen
Society of Antiquaries
W. More Molyneux,
Esq.
Sir John Neeld, Bt.
St. Bartholomew's
Hospital
Duke of Devonshire,
K.G.
J. H. Anderdon, Esq.
Lord Chesham
Duke of Buccleuch,
K.G.
2 A
37°
ROYAL ACADEMY, 1879-80
Case
F. 10
,,
11
,,
12
,,
J3
,,
14
>>
15
16
»,
2C
>,
21
J,
22
>,
25
),
27
>,
28
5,
29
5,
Case
3°
1-3
,,
4
,,
5
Case
L.4
2]
[8
2]
9
23I
217,
1
220-
ax, 1
223-
3°> 1
232-
45 J
1880
147
149
150
J52
Henry VIII. Miniature
Henry VII. Miniature
Henry VII. Miniature
Queen Katherine of Aragon.
Miniature
Queen Mary. Miniature
Henry VIII. Miniature
Edward VI. Miniature
Queen Catherine Howard. Minia-
ture
Queen Katherine of Aragon
holding a Monkey. Miniature
Queen Catherine Howard. Minia-
ture
Portrait of the Painter. Signed
" H. H., 1543,^^/. 45." Minia-
ture
Henry VIII. Miniature
Queen Katherine of Aragon.
Miniature
Hans Holbein. Miniature
Edward VI. Miniature
Catherine Howard. Miniature
Henry Grey, Duke of Suffolk.
Miniature
Charles Brandon, Duke of Suffolk.
Miniature
Sir Thomas More. Miniature
Head of a Man, perhaps Francis
North, Earl of Guildford.
Drawing signed " H. H."
A Theological or Legal Discus-
sion. Eng. by Tobias Stimmer.
Drawing
Full-length Figures of Henry VII
and Henry VIII. Cartoon
The Windsor " Heads "
Head of an Old Man. Panel,
i3i x IO
Portrait of Lady Vaux. Panel,
14! XII
Portrait of a Man. Panel,
14" x 9"
Portrait of Henry Howard, Earl
of Surrey. Dated 1534. Panel,
Unknown
Sir Antonio More
Hans Holbein
Unknown
After Holbein
Hans Holbein
From a picture by
Holbein
Hans Holbein
Unknown
Hans Holbein
After Holbein
Hans Holbein
)> ,,
,, ,,
Duke of Buccleuch,
K.G.
)!
I,
,9
>,
I,
,J
,»
>>
Her Majesty
Duke of Buccleuch,
K.G.
Duke of Devonshire,
K.G.
Edward J. Poynter,
Esq., R.A.
Marquis of Harring-
ton, M.P.
Her Majesty
Duke of Devonshire,
K.G.
Her Majesty (Hamp-
ton Court)
Duke of Devonshire,,
K.G.
Charles Butler, Esq.
ROYAL ACADEMY, 1880
155
157
161
162
163
165
167
168
169
170
171
172
173
174
17s
176
177
178
179
180
181
182
183
184
Portrait of Henry Grey, Uuke of
Suffolk. Panel, i3£" x ioj"
Portrait of Lady Heneage. Panel,
i6"xii"
Portrait of Henry VIII. Panel,
16J" x 1 2-;
Child.
Panel,
when
Portrait of a
8" x 6"
Portrait of Edward VI
Prince of Wales
Sir Thomas Gresham. Panel,
7i"x42"
Portrait of William West, First Lord
Delawarr. Panel, 52" x 31"
Portrait of a German Lady. Panel,
23 x 19
The Wheel of Fortune. Dis-
temper on canvas, 27" x 18".
Dated 1533
Portrait of a Man. Panel,
2o"xi4i"
Portrait of Lady Guildford. (In-
scribed "Anno 1527. ^Etatis
Suae 27.") Panel, 32" x 26"
Portrait of Derek Berck. Panel,
tl rll
20 X 10
Portrait of Thomas Howard, 3rd
Duke of Norfolk. Panel,
30" x 23"
Portrait of Sir Henry Guildford.
Panel, 32" x 26"
Sir W. Butts. Panel, 18" x 14"
Portrait of Clement Newce, Esq.,
of Much Hadham. Panel,
32" x 26". Dated 1559.
Portrait of Christina of Denmark,
Duchess of Milan
Portrait of Lady Butts. Panel,
18" x 14"
Portrait of W. Warham, Arch-
bishop of Canterbury. Panel,
32 x 26
Portrait of Thomas Howard,
Third Duke of Norfolk. Panel,
31 x 24
Portrait of John, Elector of Saxony.
Panel, 25" x 28I"
Portrait of Sir John More. Panel,
29" x 24"
Portrait of a Merchant of the
Stahlhof or Steelyard. Panel,
23^" x 18"
Portrait of a Young Man. Panel,
~" it
17 x 13
School of Holbein
Hans Holbein
School of Holbein
Hans Holbein
Attributed to Hol-
bein
Hans Holbein
School of Holbein
Hans Holbein
371
G. P. Boyce, Esq.
G. C. Handford, Esq.
Duke of Devonshire,
K.G.
Sir Henry Ainslie
Hoare
Duke of Northumber-
land
The Gresham Com-
mittee
R. S. Holford, Esq.
Earl Spencer
Duke of Devonshire,
K.G.
J. E. Millais, Esq.,
R.A.
Edward Frewen, Esq.
Lord Leconfield
Duke of Norfolk
Her Majesty (Wind-
sor Castle)
W. H. Pole-Carew,
Esq.
W. M. Martin-Ed-
munds, Esq.
Duke of Norfolk
W. H. Pole-Carewr
Esq.
Archbishop of Canter-
bury
Her Majesty (Wind-
sor Castle)
R. S. Holford, Esq.
Earl of Pembroke
Her Majesty (Wind-
sor Castle)
G. P. Boyce, Esq.
372
1 86
187
188
190
191
192
195
198
203
204
205
237
1881
194
201
1882
198
216
222
1884
288
1886
184
1887
157
ROYAL ACADEMY, 1880-92
166
1892
172
Portrait of John Reskimer. Panel,
17 X12J
Portrait of a Gentleman. Panel,
i3"xii"
"Noli Me Tangere." Panel,
. 29i" x 37"
Sir Bryan Tuke. Panel,
i8i"xi4!"
Portrait of Anton Fugger of
Augsburg. Panel, 14^" x 11"
Portrait of John Herbster. Panel,
i6"xii"
Portrait of Sir Nicholas Carew.
Panel, 36" x 40"
Portrait of the Princess (afterwards
Queen) Elizabeth. Panel,
42" x 3i£"
Portrait of a Young Man. Panel,
i7"xi3"
William Tell (an imaginary por-
trait). Panel, 31" x 26"
Thomas Cromwell, Earl of Essex,
Panel, 6" x 5"
Portrait of Thomas Howard, Duke
of Norfolk. Panel, 6" x 5"
Portrait of Edward VI on horse-
back. Canvas, 66" x 59"
Portrait of Sir Thomas More.
Panel, 29" x 23^"
Portrait of a Lady. Panel,
142 x 10
Christ Mocked. Panel, 30" x 24"
Portrait of a Lady. Panel, 7" x 6 J"
Portrait of Thomas Cromwell, Earl
of Essex. Panel, 30" x 24^"
The Banker. Panel, 25" x 19'
Portrait of Henry VIII. Panel,
34" x 25"
Portrait of one of the Children of
Sir John Thynne. Dated 1582.
Panel, 33" x 26"
Portrait of one of the Children of
Sir John Thynne. Dated 1574.
Size not given
Sir Thomas More as a Young
Man. Panel, 131" x 12"
Hans Holbein
School of Holbein
Hans Holbein
Holbein (?)
Hans Holbein
School of Holbein
Hans Holbein
Her Majesty (Hamp-
ton Court)
Duke of Buccleuch,
K.G.
Her Majesty (Hamp-
ton Court)
Marchioness of West-
minster
Francis Cook, Esq.
Earl of Northbrook
Duke of Buccleuch,
K.G.
Her Majesty (St.
James's Palace)
Duke of Marlborough
Sir P. Myles
Duke of Devonshire,
K.G.
Duke of Buccleuch,
K.G.
Mrs. Henry Huth
Mrs. Herbert Black-
burne
CMagniac,Esq.,M.P.
Mrs. Charles Fox
Countess of Caledon
Marquis of Lansdo wne
H. R. Hughes, Esq.
Marquis of Bath
Ralph Bankes, Esq.
ROYAL ACADEMY, 1 893-191 2
373
1893
166
176
1894
175
1895
175
178
D. 24
CaseG 51
1896
1902
T55
157
160
168
1907
r3
1908
2
1910
60
106
1912
45
Portrait of a Man. Panel,
17" xi5"
Portrait of Sir Thomas Gresham.
7i"x42"
Portrait of a Gentleman. Panel,
i4"xn"
Portrait of a Banker. Panel,
12" x 9"
The Death of the Virgin in the
Presence of the Apostles. Panel,
65" x 59"
Design for a Painted Glass Panel,
supposed to represent a Meet-
ing of the Early Swiss Re-
formers. Dated 1522.
Pendant, known as the " Holbein
George." Made for Henry VIII
Portrait of Sir Thomas More.
Dated 1527. Panel, 29" x 23^"
Portrait of John Chamber, M.D.
Panel, 26" x i8£"
Portrait of a Man. Panel,
i8"xi5r
Portrait of Edward VI. Panel,
37" x 30"
Portrait of a Man. Dated 1566.
Panel, 9^" x 10"
Portrait
I6J"X I2f
of a
i"
Lady. Panel,
Portrait of William West, 1st
Lord Delawarr. Panel,
53"x3i"
Portrait of Queen Mary Tudor.
Panel, 30" x 2 2^'
Portrait of William, 1st Lord
Paget, K.G. Panel, i8£" x 13"
Portrait of Mrs. Anne Roper.
Panel, 14" x 10". (This pic-
ture has also been thought to
be a portrait by Mabuse of
Margaret, Countess of Rich-
mond and Derby, mother of
Henry VII)
Portrait of Alderman Robert
Trappes. Dated 1554. Panel,
23r x i9i"
School of Holbein
Hans Holbein
School of Holbein
Hans Holbein the
Elder
Hans Holbein
Hans Holbein
School of Holbein
Hans Holbein
Attributed to Wil-
liam Stretes
Hans Holbein
William Stretes
Lucas d'Heere
Hans Holbein
School of Holbein
Captain G. L. Hol-
ford
The Gresham Com-
mittee
Mrs. Percy Macquoid
Charles L. Eastlake,
Esq.
Dr. J. P. Richter
Sir J. C. Robinson
Her Majesty
Edward Huth, Esq.
Merton College, Ox-
ford
Right Hon. Lewis Fry
Sir J. C. Robinson,
CB.
Worcester College,
Oxford
Major Charles Palmer
Major G. L. Holford
Sir W. Cuthbert
Quilter, Bt.
Lord Gwydyr
Lord Methuen
Lord De Saumarez
374
TUDOR EXHIBITION, 1890
VIII. Grosvenor Gallery, Winter Exhibition of Drawings by the
562
563
564
565
566
567
568
579
580
581
Old Masters, 1878-9
Saturn. Pen drawing
Study of a Pilgrim. Pen and
bistre, touched with red chalk
Portrait of a Man. Silver-point,
touched with red chalk
A Figure of a Wild Man. Pen,
shaded with Indian ink and
colour
Design for a Lamp. Pen and
bistre
Two Whole - length Figures of
Ladies. Indian ink touched
with colour
Portrait Head, in profile, of a
Young Man wearing a Cap.
Silver-point
Pieta. Probably a design for a
tomb. Pen and bistre
A Man seated at a Table, with
back to spectator. Pen and
bistre
Design for a Dagger Sheath,
representing a Battle. Pen
and wash
Hans Holbein
>> )i
Ascribed to Holbein
Hans Holbein
Christ Church Col-
lege, Oxford
John Malcolm, Esq.
Christ Church Col-
lege, Oxford
John Malcolm, Esq.
Alfred Seymour, Esq.
Christ Church Col-
lege, Oxford
Earl of Warwick
IX. Exhibition of the Royal House of Tudor, New Gallery, 1890
Mary Tudor, Dowager Queen of
France. Panel, 22^'x 18"
Sir Henry Wyat in Prison, and the
Cat bringing him a Pigeon.
Canvas, 29" x 24"
17 Sir Henry Wyat. Panel, 15" x 12"
19 ! The Three Children of Henry VII.
Panel, 13" x 18"
21 The Cat that fed Sir Henry Wyat.
Panel, 15" x ni"
30 ■ Arthur, Prince of Wales. Panel,
i i4f" x 1 of"
38 Charles Brandon, Duke of Suffolk,
K.G. Panel, 34" x 27"
39 Thomas Cromwell, Earl of Essex.
Panel, 20" x 17"
41 Thomas Howard, 3rd Duke of
Norfolk, K.G. Panel, 30" x 23"
42 Cartoon of Henry VII and Henry
! VIII. 103" x 54"
Johannes Corvus
Unknown
Jan de Mabuse
Unknown
»»
Hans Holbein
Mrs. Dent of Sudeley
Earl of Romney
Mrs. Dent of Sudeley
Earl of Romney
Her Majesty (Windsor
Castle)
Lord Donington
Duke of Sutherland,
K.G.
Duke of Norfolk, K.G.
Marquis of Harting-
ton, M.P.
TUDOR EXHIBITION, 1890
375
43 Queen Katherine of Aragon.
Panel, 23" x 17"
44 Queen Jane Seymour. Panel,
24" x 18"
45 John, 2nd Lord Braye (d. 1557).
Panel, 40" x 32"
46 Gertrude, Lady Petre (d. 1541)
47 Embarkation of Henry VIII from
Dover, 31st May 1520. Canvas,
121" x 63*"
49 Henry VIII. Dated 1544. Can-
vas, 47" x 38"
50 Sir Anthony Browne, K.G. (d.
1548). Canvas, 37" x 30"
51 Henry Howard, Earl of Surrey.
52 Hans Holbein. Canvas,
20I" x i8£"
53 Elizabeth Schmid, wife of Hans
Holbein
54 Charles Brandon, Duke of Suffolk,
K.G. Panel, 8" x 6\"
55 Henry VIII. Panel, 38" x 29"
57 Meeting of Henry VIII and
Francis I at Field of Cloth of
Gold. Canvas, 66" x 159"
59 Henry VIII. Panel, 36" x 30"
61 Cardinal Fisher, Bishop of Ro-
chester. Panel, 2i|" x 16 J"
62 Portrait of a Man. Panel,
23"XI5"
65 Queen Katherine Parr. Panel,
25J" x 20J"
67 Portrait of a Man. Panel,
20 x 14^
69 Edward Stafford, Duke of Buck-
ingham, K.G. Panel,
1 n ~\tr
70 Sir John More. Panel, 33" x 26"
71 Queen Jane Seymour. Panel,
i6|" x 14"
72 John Reskemeer of Cornwall.
Panel, 17^' x 12$"
73 Henry Howard, Earl of Surrey.
Panel, 75" x 4o|"
74 Henry VIII. Panel, 17" x 13"
75 Charles Brandon, Duke of Suffolk,
K.G. Panel, 24" x 18"
76 Lady Butts. 35" x 26J"
77 Thomas Wriothesley, 1st Earl of
Southampton. Dated 1545.
Panel, 24" x 18"
79 Sir Nicholas Poyntz, Kt. Dated
1535. Panel, 24" x 17"
Unknown
Hans Holbein
)> ti
Vincent Volpe
Attributed to Hans
Holbein
Unknown
Guillim Stretes
Hans Holbein
11 >>
" "
Unknown
Hans Holbein
Unknown
School of Hans Hol-
bein
Unknown
Hans Holbein
Unknown
Hans Holbein
Unknown
Hans Holbein
>) 11
Merton College, Ox-
ford
Lord Sackville
Lord Braye
Right Rev. Monsignor
Lord Petre
F. J. Thynne, Esq.
St. Bartholomew's
Hospital
Lord Vaux of Har-
rowden
Duke of Norfolk,
K.G.
Her Majesty (Windsor
Castle)
it it
W. Holman Hunt,
Esq.
Earl of Yarborough
Her Majesty (Hamp-
ton Court)
Henry Willett, Esq.
Hon. H. Tyrwhitt-
Wilson
Charles Eastlake, Esq.
Earl of Ashburnham.
Sir J. E. Millais, Bt.,
R.A.
Sir Henry Bedingfeld,
Bt.
William Seward, Esq.
Society of Antiquaries.
Her Majesty (Hamp-
ton Court)
Charles Butler, Esq.
Duke of Sutherland,
K.G.
William Seward, Esq.
Major-General F. E.
Sotheby
Marquis of Bristol
376
TUDOR EXHIBITION, 1890
80
81
82
83
84
85
86
88
89
90
91
92
93
94
95
96
97
98
99
100
101
102
104
106
107
108
109
TIO
Queen Jane Seymour. Panel,
21 x 13I
Queen Anne Boleyn. Canvas,
14 x 12
Portrait of a Man. Panel, 14" x 9"
Mary Tudor, Dowager Queen of
France. Panel, 7" x 6"
Henry Howard, Earl of Surrey.
Dated 1534. Panel, 15 J" x n"
Erasmus. Panel, 20" x 12"
Hugo Price, LL.D., Founder of
Jesus College, Oxford. Panel,
isr x i3"
Sir Anthony Denny, Kt. Panel,
TCI" V Til"
I55. x IXZ
Portrait of a Gentleman. Dated
1555. Panel, 25I" x 2oJ,/
Sir Henry Guldeford, K.G. Panel,
32" x 25r
Thomas Howard, 3rd Duke of
■ Norfolk. Panel, 30" x 24"
Christina, Duchess of Milan.
Panel, 70" x 32"
Charles Brandon, Duke of Suffolk,
K.G. Panel, 34" x 27"
Sir Thomas More. Panel,
29" x 23r
Sir John Cheke, Kt. Panel,
i3"x9f
William, Lord Paget, K.G. Panel,
13" x 9i"
Henry VIII. Panel, 35" x 25"
Katherine of Aragon. Panel,
13" x 94"
Portrait of a Spanish Nobleman.
Panel, 13J" x ioi"
Sir John More. Panel,
29 x 24
Henry VIII and his Family.
Canvas, 66" x 138"
Queen Anne Boleyn. Panel,
a ^11
9 x 7
Queen Katherine Parr. Panel,
9" x 7"
Queen Katherine Parr. Canvas,
72"x42"
William Warham, Archbishop of
Canterbury. Dated 1527.
Panel, 32^' x 26"
Queen Anne of Cleves. Panel,
28"X2I"
Cardinal Wolsey. Panel, 21" x 17"
Henry VIII. Panel, i3£" x n£"
Unknown
Hans Holbein
Lucas Cranach
Hans Holbein
Unknown
Attributed to Hans
Holbein
Hans Holbein
Unknown
Hans Holbein
Guillim Stretes (?)
After Vercolie
19 ))
Hans Holbein
)5 JJ
Unknown
Marquis of Hertford
Earl of Warwick
Duke of Devonshire,
K.G.
Earl Brownlow
Charles Butler, Esq.
Mrs. Du Buisson
Jesus College, Oxford
Sir Henry Bedingfeld,
Bt.
Henry Reeve, Esq.,
C.B.
Her Majesty (Windsor
Castle)
Duke of Norfolk, K.G.
C. W. Chute, Esq.
Edward Huth, Esq.
Duke of Manchester,
K.P.
J5
Earl of Pembroke
Her Majesty (Hamp-
ton Court)
G. Milner - Gibson-
Cullum, Esq.
Richard Booth, Esq.
Viscount Dillon
Miss Morrison
T. L. Thurlow, Esq.
Sir Henry Bedingfeld,
Bt.
TUDOR EXHIBITION, 1890
377
in
112
"3
114
116
117
120
122
125
126
127
128
129
13°
131
132
*33
134
136
137
138
139
140
141
142
145
146
Queen Katherine Parr. Panel,
T-l" v T->"
Unknown
Marquis of Hertford
J72 x J3
Erasmus. Parchment (?).
Hans Holbein
Her Majesty (Hamp-
2I£"XI2£"
ton Court)
Sir Thomas le Strange, Kt. Dated
>> >>
Hamon le Strange,
1536. Panel, 15" x io|"
Esq.
Charles Brandon, Duke of Suffolk,
5) >5
Earl Brownlow
K.G. Panel, 7" x 6"
Erasmus. Panel, n" x 7"
>> 55
Earl of Portarlington
Mary Boleyn, Lady Carey. Can-
Unknown
Earl of Warwick
vas, 14" x 12"
Queen Jane Seymour. Panel,
>)
Sir Rainald Knightley,
10" x 8"
Bt., M.P.
Henry VIII " with Scroll." Panel,
Paris Bordone
Merchant Taylors'
29" x 22"
Company
Queen Anne Boleyn. Panel,
Lucas Cornelisz
Earl of Romney
circular, 10"
Portrait of an Englishman. Panel,
Hans Holbein
G. P. Boyce, Esq.
i7rxi3"
Henry VIII. Panel, 36" x 25"
» j)
Earl of Warwick
Sir Thomas More. No measure-
>) n
T. L. Thurlow, Esq.
ments given
Henry VIII. Panel, 88" x 48"
>> >)
Trinity College, Cam-
bridge
Nicholas Kratzer. Panel,
55 55
Viscount Galway
34" x 26J"
Portrait of a Man. Panel,
School of Holbein
Duke of Manchester,
10J" x 8"
K.P.
Sir Thomas Wyat, Kt. Panel,
Lucas Cornelisz
Earl of Romney
circular, 11 \"
Queen Anne Boleyn. Panel,
8" x 6"
Queen Anne of Cleves. Dated
Unknown
Mrs. S. S. Gwyllim
Barth. Bruyn
Henry Willett, Esq.
1534. Panel, 15" x 11"
JohnFrobenius. Canvas, 21" x 13"
Unknown
Sir H. B. St. John
Mildmay, Bt.
Edward Stafford, 3rd Duke of
Hans Holbein
Lord Donington
Buckingham, K.G. Panel,
22i" x 18"
Erasmus. Panel, 25^" x 21 J"
Unknown
Charles Butler, Esq.
Cardinal Fisher, Bishop of Ro-
Hans Holbein
St. John's College,
chester. Panel, 28" x 24"
Cambridge
Margaret Roper. Panel,
Attributed to Sir A.
F. L. Devitt, Esq.
34" x 2" (?)
More
Queen Anne Boleyn. Panel,
n"x8i"
Queen Jane Seymour. Panel,
Hans Holbein
Earl of Denbigh
Unknown
Duke of Northumber-
14 x 11
land, K.G.
Henry VIII. Panel, 38J" x 29"
Hans Holbein
Hon. H. Tyrwhitt-
Wilson
Henry VIII, Anne Boleyn, and
Unknown
Major- General F. E.
Others. " The Dancing Pic-
Sotheby
ture." Panel, 52" x 42"
Sir Henry Guldeford, K.G. Panel,
j)
Hon. H. Tyrwhitt-
25rx2or
Wilson
37»
TUDOR EXHIBITION, 1890
147
148
149
150
J55
i57
158
160
161
162
163
164
165
167
168
169
170
171
172
173
173'
i74
175
176
178
180
Sir William Petre, Kt. Dated
1545. No measurements given.
Henry VIII. Panel, 24" x 22"
Henry VIII. Panel, 33" x 25"
Sir Thomas More and his Father,
Dated 1530. Canvas, 55" x 45"
Henry VIII. Dated 1547. Panel,
35"* 27"
Henry VIII granting the Charter
to the Barber-Surgeons' Com-
pany. Panel, 122" x 71"
Francis, Prince of Thurn and
Taxis. Dated 15 14. Panel,
2i£"xi8"
Henry VIII. Panel, 30" x 24"
Henry VIII. Panel, 33!" x 27"
Henry VIII and his Family.
Panel, si"x7i"
Thomas Cromwell, Earl of Essex,
K.G. Panel, 22 J" xi 7"
Sir Thomas More. Panel, 17^"
Thomas Cromwell. Panel, 18"
xi6"
i4"xni"
Thomas Cromwell.
Charles Brandon. Panel,
I2|" x 8"
Portrait of a Gentleman. Panel,
8 rt 1 //
x 13?
Margaret Tudor, Queen of Scot-
land. Panel, i6£" x 12"
Queen Katherine Parr. Canvas,
70" x 50"
Sir Thomas Wyat the Elder.
Panel, 17*" x 13"
Elizabeth, wife of Lord Vaux.
Panel, i4|"xu"
Head of an Old Man. Panel,
13! x 10
Henry Grey, 3rd Marquis of
Dorset. Panel, 15!" x 11"
Henry VIII. Circular panel,
29"
Robert Cheseman. Dated 1533.
Panel, 30" x 22"
Edward VI as a Child. Panel,
22J" x i6i"
Edward VI, aged 10. Panel,
27^ x 20
Edward VI as a Boy. Canvas,
i9"xiSr
Edward VI. Panel, 21" x 15"
Edward VI. Panel, i6i" x 10"
Hans Holbein
Unknown
Hans Holbein
Unknown
>)
Sir A. More
Unknown
Hans Holbein
Unknown
Hans Holbein
Unknown
Hans Holbein
Unknown
Hans Holbein
>, >,
School of Holbein
Hans Holbein
Unknown
F. Zucchero
Unknown
Right Rev. Monsignor
Lord Petre
T. L. Thurlow, Esq.
Sir Henry Vane, Bt.
Viscount Galway
Barber-Surgeons'
Company
Baroness
Coutts
Burdett-
Christ Church, Oxford
Governors of Bride-
well Hospital
Mrs. Dent of Sudeley
Corpus Christi Col-
lege, Cambridge
Baroness Burdett-
Coutts
Charles Penruddocke,
Esq.
Duke of Manchester,
K.P.
Sir Henry Beding-
feld, Bt.
Right Rev. Mon-
signor Lord Petre
Charles Butler, Esq.
Earl of Denbigh
Bodleian Library, Ox-
ford
Her Majesty (Hamp-
ton Court)
Duke of Devonshire,
K.G.
G. P. Boyce, Esq.
Duke of Sutherland,
K.G.
Rev. Charles Shep-
herd
Earl of Yarborough
W. More Molyneux,
Esq.
Sir P. Pauncefort Dun-
combe, Bt.
Lord Castletown
Duke of Portland
TUDOR EXHIBITION, 1890
379
181 Edward VI presenting the Charter
to Bridewell (1553). Canvas,
115" x 108"
182 Edward VI. Panel, 24" x 22"
183 Edward VI. Panel, 28" x 21"
184 Edward VI. Panel, 32I" x 21"
186 Edward VI. Panel, 17" x 15"
187 Edward VI. Panel, 18" x 13"
188 Edward VI. Panel, 17 J" x 12"
189 Edward VI as a Child. Panel,
50" x 29"
190 Edward VI. Panel, 46" x 34"
196 Edward Seymour, Duke of Somer-
set. Dated 1535. Panel,
35" x ^er
199 Edward Seymour, Duke of Somer-
set. Panel, 8|" x 7"
200 Queen Mary. Panel, 41 J" x 31"
203 Queen Mary. Canvas, 93" x 57"
204 Queen Mary. Panel, 19 \"
206 Queen Mary. Dated 1554. Panel,
40" x 30"
208 Queen Mary. Panel, 22" x i6£"
211 Henry FitzAlan, 23rd Earl of
Arundel. Panel, 36" x 28"
213 Queen Mary. Circular panel.
°2"
214 Queen Mary. Dated 1546. panel,
28" x 22"
215 Queen Mary. Dated 1556. Panel,
20 x 16
217 Sir Richard Southwell. Ait. 95.
Panel, 29!" x 25"
222 Sir George Penruddocke. Panel,
II r sit
104 x 66
224 Sir Thomas Wyat the Younger.
Panel, circular, 15"
229 Queen Mary. Panel, 18" x 15"
230 Queen Mary. " Hungad Petition."
Panel, 44" x 35"
2 33 Queen Mary. Panel, 22^" x 16J"
235 Queen Mary. Panel, 8" x 6 \"
240 Queen Mary. Panel, 28^" x 22"
242 Portrait of a Man. Panel, 6" x 5"
243 Queen Mary as a Child. Panel,
19 x I3i
246 Thomas Cranmer, Archbishop of
Canterbury. Dated 1547-
Panel, 17^" x 12"
Guillim Stretes?
Hans Holbein
Unknown
Hans Holbein
Unknown
>>
Hans Holbein
Unknown
Hans Holbein
Unknown
After Sir A. More
Sir A. More
Lucas d'Heere
Unknown
Cornelius Ketel
Unknown
Lucas d'Heere
Unknown
Lucas d'Heere
Sir A. More
Lucas d'Heere
Sir A. More
Hans Holbein
Unknown
Hans Holbein
Governors of Bride-
well Hospital
Right Rev. Monsignor
Lord Petre
Duke of Manchester,
K.P.
T. L. Thurlow, Esq.
A. H. Frere, Esq.
Malcolm Wagner, Esq.
)> i>
Duke of Northumber-
land, K.G.
Earl of Denbigh
Mrs. Dent of Sudeley
Duke of Northumber-
land, K.G.
Earl of Ashburnham
Her Majesty (St.
James's Palace)
Dean and Chapter of
Durham
Society of Antiquaries
Trinity College, Cam-
bridge
Duke of Norfolk, K.G.
Sir William Drake, Bt.
Lord de L'Isle and
Dudley
H. P. Spencer Lucy.
Esq.
W. H. Romaine
Walker, Esq.
Charles Penruddocke,
Esq.
Earl of Romney
Charles Butler, Esq.
Mrs. Stopford Sack-
ville
Lord Castletown
Colonel Wynne Finch
Earl of Carlisle
W. Castell Southwell,
Esq.
Duke of Norfolk, K.G.
Jesus College, Cam-
bridge
38o
255
292
348
357
399
428
429
43°
43i
432
435
438
442
455
486
495 to
573
906
907
1066
1067
1070
1071
1072
1073
1074
io75
1076
1077
TUDOR EXHIBITION, 1890
Frances Brandon, Duchess of
Suffolk, and her Second Hus-
band, Adrian Stokes. Dated
1559. Panel, 19 J" x 27"
Margaret Audley, Second Wife of
Thomas, 4th Duke of Norfolk.
Dated 1565. Canvas, 38" x 29"
William Paulet, 1st Marquis of
Winchester, K.G. Panel,
Thomas Howard, 4th Duke of
Norfolk, K.G. Dated 1566.
Panel, 12" x 10"
Sir William Sidney, Kt. Dated
1523. Panel, 47" x 37"
Henry VIII. Panel, 2 if x 16"
Henry VIII. Panel, t 6" x 12"
Queen Jane Seymour. Panel,
7"" x s¥
Edward VI. Copper, 7!" x 6"
Henry VIII. Panel, 26 £" x i9£"
Henry VIII. Panel, 13" x 10" "
Edward VI. Panel, 10" x 8"
Henry VIII. Panel, 21" x 17"
Margaret Clifford, Countess of
Derby. JEt. 49. Panel,
382 x 24"
Queen Mary. Canvas, 35" x 27"
The Windsor " Heads "
Edward VI. Miniature in wood
Henry VIII. Miniature in wood
Henry VIII. Miniature (oil)
Queen Catherine Howard. Minia-
ture
A Man's Head, unfinished. In-
scribed, " a.d. 1539. ^Etat.
Thomas Cromwell. Miniature
Thomas Cromwell. Miniature
Henry VIII. Miniature
Henry VIII. Carving in hone-
stone
Henry VIII. Miniature
Queen Katherine Parr. Miniature
Thomas, Lord Seymour of Sude-
ley. Miniature
Lucas d'Heere
Hans Holbein
Lucas d'Heere
Hans Holbein
Unknown
n
Lucas d'Heere
Unknown
Hans Holbein
Attributed to Hans
Holbein
" "
Hans Holbein
Ascribed to Hans
Holbein
Hans Holbein
Unknown
Hans Holbein
Unknown
Hans Holbein
Colonel Wynne Finch
Duke of Norfolk, K.G.
Duke of Northumber-
land, K.G.
Duke of Norfolk, K.G.
Lord de L'Isle and
Dudley
T. M. Whitehead,
Esq.
Duke of Devonshire,
K.G.
Mrs. S. S. Gwyllim
Hon. Mrs. Trollope
C. W. Chute, Esq.
Marquis of Hertford
Sir Rainald Knight-
ley, Bt.
Sir G. D. Clerk, Bt.
T. F. C. Vernon
Wentworth, Esq.
Christ Church, Oxford
Her Majesty (Wind-
sor Castle)
Granville E. Lloyd
Baker, Esq., M.P.
»' >>
Her Majesty (Wind-
sor Castle)
Right Hon. Sir Chas.
Dilke, Bt.
Major-General F. E.
Sotheby
Lord Willoughby de
Eresby
Albert Hartshorne,
Esq.
Mrs. Dent of Sudeley
5J
TUDOR EXHIBITION, 1890
381
IO78
1079
1080
1081
1082
1083
1085
1086
1087
1089
1091
1092
1093
IO94
io95
1096
1117
1118
1119
1121
1411
1412
1414
Edward VI. Miniature
Queen Jane Seymour. Miniature
Queen Anne Boleyn. Miniature
Henry VIII. Carving in box-
wood
Edward VI. Miniature
Thomas Cromwell. Miniature
Henry VIII. Miniature
Queen Anne of Cleves. Miniature
Family Group of the More Family
in Two Generations. Miniature
Queen Anne Boleyn. Miniature
Henry VIII and Family with
WillSomers. Panel, 6" x n"
William Warham. Miniature
William Warham. Miniature
Erasmus. Miniature
Sir Anthony Denny. Miniature
Henry VIII. Miniature
Henry VIII. Miniature in copper
Queen Jane Seymour. Miniature
Charles Brandon, Duke of Suffolk.
Miniature
Edward VI. Miniature
Henry VIII. Wax medallion
Sir Thomas More. Wax medal-
lion
Thomas Cromwell, Earl of Essex.
Drawing
Unknown
Hans Holbein
Unknown
Hans Holbein
Unknown
?>
Peter Oliver
Unknown
Hans Holbein
Levina Teerlinck (?)
Unknown
Hans Holbein
Mrs. Dent of Sudeley
Lieut.- General W.
Bulwer
Duke of Devonshire,
K.G.
Mrs. Prothero
Baroness Burdett-
Coutts
Major-General F. E.
Sotheby
Countess of Yar-
borough
Dowager Duchess of
Buccleuch
Henry Willett, Esq.
Henry Howard, Esq.,
of Greystoke
» »
Baroness Burdett-
Coutts
J. Lumsden Propert,
Esq.
11 >>
n >»
Her Majesty
Earl of Pembroke
X. Exhibition of the Royal House of Tudor. Corporation of
Manchester Art Gallery, 1897.
In this exhibition the greater number of the pictures were the same as those exhibited
at the Tudor Exhibition in the New Gallery, 1890. The following were among those not
included in the earlier collection :
48
56
59
60
61
Sir Nicholas Poyntz, Kt. Panel,
24" x 17"
Catherine Pole, Countess of Hunt-
ingdon. Panel, 34" x 25"
Sir Thomas More. Dated 1532.
Panel, 21" x 17"
Cardinal Wolsey. Panel,
2i"xi7"
Henry VIII. Panel, 47" x 35"
Hans Holbein
Unknown
Right Hon. Evelyn
Ashley
Trustees of the late
Lord Donington
Miss Sumner
Martin Colnaghi, Esq.
382
69
70
71
NEW GALLERY, 190 1-2
Queen Anne Boleyn. Panel,
22
i"
17
3"
Sir Thomas More. Panel,
6// n
X II
Sir Thomas More and Family.
Canvas, 91" x 118"
Hans Holbein
Unknown
Attributed to Hol-
bein
C. J. Radcliffe, Esq.
John Eyston, Esq.
XL
34
4i
45
47
48
49
5°
5i
52
53
54
55
56
57
58
59
60
61
62
63
64
70
New Gallery, Winter Exhibition, 1901-2.
Great Britain and Ireland.
The Three Children of Henry VII.
Panel, 13" x 18"
The Three Children of Henry VII.
Panel, 14" x 18"
Queen Katherine of Aragon.
Panel, 23" x 17"
Queen Anne Boleyn. Panel,
circular, 10"
Henry VIII. Panel, 19" x 13I"
Queen Katherine of Aragon.
14" x 10I"
Mary Tudor, Dowager Queen of
France. Panel, 2 2 J" x 18"
Katherine of Aragon and Arthur,
Prince of Wales. Panel,
15" x 20"
Henry VIII, Princess Mary, and
Will Somers. Canvas, 63" x 50"
Henry VIII. Panel, 35" x 27"
Marriage of Henry VIII with
Katherine of Aragon (1501).
Panel, 11" x 29"
Henry VIII and his Family.
Panel, 51" x 71"
Edward VI. Panel, 16" x 12"
Queen Katherine Parr. Panel,
21" x 17"
Queen Anne of Cleves. Panel,
28"X2I"
Queen Jane Seymour. Panel,
i6J" x 14"
Edward VI. Panel, 20" x i6£"
Queen Anne Boleyn. Canvas,
i5"xi2"
Cartoon of Henry VII and Henry
VIII. 103" x 54"
Edward Seymour, Duke of Somer-
set. Dated 1535- Panel,
35" x 26I"
Charles Brandon, Duke of Suffolk,
K.G. Panel, 34" x 27"
Edward VI. Panel, 46" x 34"
Jan de Mabuse
Unknown
Lucas Cornelisz
Unknown
Johannes Corvus
Unknown
Hans Holbein
Unknown
MONARCHS OF
H. Dent-Brocklehurst,
Esq.
Earl of Pembroke
Merton College, Ox-
ford
Earl of Romney
Society of Antiquaries
Duke of Devonshire,
K.G.
H. Dent-Brocklehurst,
Esq.
Charles Butler, Esq.
Earl Spencer, K.G.
Viscount Galway
Earl of Ancaster
Sir Antonio More
Attributed to Hol-
bein
Unknown
Hans Holbein
Unknown
Gwillim Stretes
Attributed to Janet
Hans Holbein
Unknown
Hans Holbein
H. Dent-Brocklehurst,
Esq.
Earl of Pembroke
Archbishop of Canter-
bury
Charles Morrison,Esq.
Society of Antiquaries
Lord Aldenham
Lord Zouche
Duke of Devonshire,
K.G.
H. Dent-Brocklehurst,
Esq.
Executors of Lord
Donington
Earl of Denbigh
OXFORD EXHIBITION, 1904
383
73
Queen Mary I. Panel, 19J
//
Sir Antonio More
Dean and Chapter of
Durham
75
Queen Mary I. Dated
Panel, 40" x 30"
1554-
Lucas d'Heere
Society of Antiquaries
Miniatures
201
Charles Brandon, Duke of Suffolk,
Hans Holbein
Earl Brownlow
K.G. Panel, 7" x 6"
202
Mary Tudor, Dowager Queen of
>) »
)> )>
France. Panel, 7" x 6"
204
Queen Katherine Parr
!' ))
H. Dent-Brocklehurst,
Esq.
205
Queen Jane Seymour
)! ))
11 »
206
Queen Anne Boleyn
Unknown
>) »j
217
Queen Catherine Howard
Hans Holbein
His Majesty
218
Henry VIII. Aged 57
51 )>
5J )»
219
Henry VIII
Unknown
H. Dent-Brocklehurst,
Esq.
220
Edward VI
)>
>) >»
252
Queen Mary I
Lucas d'Heere
Colonel Wynne Finch
342
Henry VIII. Carving in
stone
hone-
Hans Holbein
H. Dent-Brocklehurst,
Esq.
348
Henry VIII. Carving in boxwood
it 11
>> >>
XII. Loan Collection of Portraits of English Historical Per-
sonages WHO DIED PRIOR TO THE YEAR 1625. OXFORD, 1904
21
22
23
24
25
26
27
3°
33
William Warham, Archbishop of
Canterbury. Panel, 32" x 25^"
William Warham. Panel,
32" x 25I"
Catherine of Aragon. Panel,
22
1"
x 17
Sir Thomas Wyat.
^rx^r
King Henry VIII.
24"XI9|"
King Henry VIII.
27"X22"
Dr. John Chambre.
25i"xi8r
Anne of Cleves. Panel, arched
Panel,
Panel,
Panel,
Panel,
top, 19I x i4i
, i"
Sir Thomas Pope. Panel,
45
i"
x3!f
i"
Hans Holbein
Copy from Holbein
Unknown
Based upon a draw-
ing by Holbein
Unknown
»
Copy from Holbein
Flemish School
School of Holbein
Viscount Dillon
New College, Oxford
The Warden of Mer-
ton College, Oxford
Curators of the Bod-
leian Library
Dean of Christ
Church, Oxford
Archdeacon of Oxford
Merton College, Ox-
ford
The President of St.
John's College, Ox-
ford
The President of
Trinity College, Ox-
ford
384 BURLINGTON FINE ARTS CLUB, 1909
XIII.
14
19
21
23
24
25
28
3°
33
34
38
39
40
41
42
43
44
45
46
48
49
5°
Si
Exhibition Illustrative of Early English Portraiture,
Burlington Fine Arts Club, 1909
Reprinted by kind permission of the Committee of the Club.
Margaret Wotton, Marchioness of
Dorset. Panel, 40^" x 31 J"
Lady of the Court of Henry VIII.
Panel, 16J" x 14J"
King Henry VIII. Panel,
*7a" x 281"
Henry VHP Panel, 46" x 37 J"
Can-
Henry VIII " with Scroll.'
vas, 28|" X 22£"
Unknown Lady. Panel,
i4i"xi°r
Mary Tudor, Sister of Henry VIII.
Panel, 22^' x 18 J"
Edmund Butts. Panel, 21" x 15^"
King Henry VIII. Panel,
i8£"xi3i"
Sir W. Fitzwilliam, Earl of South-
ampton. Panel, 13 J" x 9!"
King Henry VIII. Panel,
ioi" x 7h"
An Elderly Man, Unknown.
Panel, 15!" x 12"
King Henry VII and King Henry
VIII. Cartoon, 103^' x 54"
Sir Thomas le Strange, Kt. Panel,
,.i" v Trii"
15^ x iOg
Sir Thomas le Strange. Panel,
Panel,
J94 x r5s
Sir Bryan Tuke.
i&i"xi4h"
Margaret Roper. Panel,
251" x i9r
Sir Nicholas Carew. Panel,
sit II
36 X40
Queen Jane Seymour. Panel,
24" x 19"
Sir Thomas Wyat the Younger.
Panel, circular, 13" diam.
Thomas Howard, 3rd Duke of
Norfolk. Panel, 30" x 23"
Sir Thomas Wyat. Panel,
17
i"
x 12
i"
William West, 1st Lord Dela-
warr (?). Panel, 5 if" x 3o|"
Copy of a Portrait
possibly by Hol-
bein
School of Holbein
Unknown
Possibly H. Eworth
Johannes Corvus
Attributed to J.
Bettes
Unknown
Copy after Holbein
Hans Holbein
Attributed to Hol-
bein
Hans Holbein
Attributed to Hol-
bein
Hans Holbein
Copy after Holbein
Hans Holbein
Copy after Holbein
Ascribed to Holbein
Copy after Holbein
Attributed to Hol-
bein and to G.
Stretes
Duke of Portland,
K.G.
Society of Antiquaries
Lord Sackville
Governors of St. Bar-
tholomew's Hos-
pital
Merchant Taylors'
Company.
Duke of Norfolk, K.G.
H. Dent-Brocklehurst,
Esq.
Prince F. Duleep
Singh
Society of Antiquaries
Duke of Devonshire
Earl Spencer, K.G.
R. Langton Douglas,
Esq.
Duke of Devonshire
Hamon le Strange,
Esq.
Miss Guest of Inwood
Lord Sackville
Duke of Buccleuch,
K.G.
Lord Sackville
Rt. Hon. Lewis Fry
Duke of Norfolk,
K.G.
Bodleian Library, Ox-
ford
Lieut.-Col. G. L. Hol-
ford, CLE.
BURLINGTON FINE ARTS CLUB, 1909 385
52
53
54
56
60
62
63
64
65
66
68
70
72
Sir Thomas More. Panel,
25"xi9i"
Sir Thomas More. Panel,
29j" x 23r
Henry Howard, Earl of Surrey.
Canvas, 86" x 85"
Sir Anthony Wingfield. Panel,
34"x27|"
King Edward VI. Panel,
i8"xi2J"
Edward VI as a Child. Panel,
22J" x i6f"
King Edward VI. Panel,
i9|" x 16J"
Margaret Wyat, Lady Lee (?).
Panel, i6£"xi2£"
Unknown Lady. Panel,
nf"x8|"
Unknown Lady. Signed " H. H."
Panel, i2f" x 9f"
King Edward VI. Panel,
i6f" x 9|"
George Nevill, 3rd Lord Aber-
gavenny. Drawing in coloured
chalks, iof" x 9i"
An English Lady, supposed to be
Margaret Roper. Drawing in
coloured chalks, iof" x 7f"
Unknown
Hans Holbein
Attributed to G.
Stretes
Attributed to Hol-
bein
Unknown, after Hol-
bein
Ascribed to Hol-
bein
Attributed to G.
Stretes
Hans Holbein
Attributed to Hol-
bein
Hans Holbein
Unknown
Hans Holbein
Lord Sackville
Edward Huth, Esq.
Duke of Norfolk,
K.G.
T. Humphry Ward,
Esq.
Lord Sackville
Earl of Yarborough
Lord Aldenham
Major Charles Palmer
P. T. Davies Cooke,
Esq.
Marquis of Zetland
Duke of Portland,
K.G.
Earl of Pembroke
George Salting, Esq.
Case B.
1
4
5
6
7
Case C.
1
2
4
King Henry VIII. Diam. i£"
Queen Jane Seymour. Diam. ij"
Mrs. Pemberton. Diam. 2\"
Queen Anne of Cleves. Diam. if"
Portraits of Two Little Girls.
Oval, ilf" x ii"
Queen Jane Seymour. Diam. if"
Queen Katherine Parr (?). Diam.
T7"
Margaret Wotton (?) (called Queen
Katherine of Aragon). Diam.
i1"
King Henry VIII. Diam. 2|"
Queen Catherine Howard. Diam.
2"
Queen Jane Seymour (called
Katherine of Aragon). Diam.
Miniatures.
Hans Holbein
i"
■>■> >>
Livina Teerlinck
Hans Holbein
J. Pierpont Morgan,
Esq.
Vernon Watney, Esq.
J. Pierpont Morgan,
Esq.
George Salting, Esq.
H. Dent-Brocklehurst>
Esq.
Duke of Buccleuch,
K.G.
VOL. II.
2B
386 BURLINGTON FINE ARTS CLUB, 1909
7
8
12
13
15
17
19
22
23
25
Case D.
1
2
King Henry VIII. Diam. if"
13"
King Henry VIII. 2' x 1
Eight Miniatures in one frame.
among them :
D. King Henry VIII. Diam. if"
F. Queen Mary. Diam. 2^"
G. King Edward VI. Diam. if"
A Boy (called Edward VI). Oval,
i"
i"
King Edward VI. Oval,
11"
LT6"
X I
7 "
F5"
Katherine of Aragon.
T15" v -13"
XTF x 1l"6"
Sir Thomas More. Oval,
t-5-" x t!"
xie x *8
King Edward VI. Diam. if"
George Nevill, 3rd Lord Aber-
gavenny. Diam. if"
Hans Holbein. Diam. iTV'
King Henry VIII. Diam. if
3"
Hans Holbein. Panel, diam. 4^"
Katherine Willoughby, Duchess
of Suffolk. Inscribed in later
hand " H. Holbein Fecit."
Diam. 2$"
Katherine of Aragon
Copy after Holbein
Possibly French
Hans Holbein
Anthonis Mor
Unknown
Hans Holbein
Unknown
Attributed to Hol-
bein
Possibly by Holbein
Unknown
Hans Holbein
Unknown
Hans Holbein
Unknown
Hans Holbein
Duke of Buccleuch
K.G.
George Salting, Esq.
Earl of Ancaster
Mrs. Joseph
17
18
In Writing- Room.
Sir Anthony Browne, K.G. Can-
vas, 37" x 30"
King Edward VI. Panel,
41" x 29"
Unknown
Lord Vaux of Har-
rowden
Major Eley
XIV. Pictures by or attributed to Holbein described by Dr. Waagen
in his "Treasures of Art in Great Britain," 1854.
Vol. I
p. 203 \
x 236-7/
PP
p. 429
Vol. II
P- 73
p. 86
PP- 93-4
p. 112
p. 199
p. 241
p. 242
The Holbein Drawings in the British
Museum
William Warham
Man with the Golden Fleece
The Duke of Norfolk
Man in a Furred Robe
Unnamed Portrait
Portrait wrongly called Duke Frederick
of Saxony
Henry VIII
Portrait of a " Plump Child "
Lambeth Palace
Duke of Sutherland, Stafford House
Duke of Norfolk
Devonshire House
Lord Ashburton
R. S. Holford, Esq.
Henry Danby Seymour, Esq.
WAAGEN'S "TREASURES OF ART" 387
p- 245
p. 246
pp.327-8
p. 328
P- 331
p. 332
pp. 361-7
p. 420
pp.430-50
Vol. Ill
p. 6
p. 29
P- 3°
>>
P- 33
P- 36
p. 41
>>
p. 42
P- 52
p. 123
p. 138
P- 139
>>
»
p. 140
p. 152
)>
)>
P- 155
p. 170
p. 185
p. 210
p. 211
p. 215
p. 225
p. 236
p. 252
Portrait of a Woman adorned with many
jewels. Dated 1536
A Man's Portrait. Dated 1547
Henry VIII granting the Charter to the
Barber-Surgeons' Company
Edward VI at Bridewell
" A Male Portrait in a rich dress."
Coloured drawing
" A Female Portrait." Miniature
The Pictures in Hampton Court
Drawing of a Female Saint
The Pictures and Drawings in Windsor
Castle
Portrait of a Young Man weighing Gold
The Duchess of Milan
The Duke of Norfolk
The Earl of Surrey, inscribed " William
Strote "
"A Female Figure with a Ring on one
Finger "
Edward VI standing under a Canopy
Henry VIII, whole length
Portrait of a Man with a Falcon
Portrait of a Man with a Letter in his
Hand (Derich Berck)
Henry VIII, bust.
A Man's Head, about 1530
Portrait of Erasmus
Peter yEgidius
Two Male Portraits, the size of life, in
one picture. (Two Ambassadors)
Luther (?)
Anthony Denny
^Ecolampadius
King Edward VI
The Father of Sir Thomas More
William, 1st Earl of Pembroke
King Edward VI
Lord Cromwell (drawing)
The Wilton Porch
Catherine Howard
" A half-length Undraped Figure, here,
in defiance of all probability, called a
William Tell "
John Fisher, Bishop of Rochester
Man's Head. Miniature
Henry VIII
Portrait of a Man Praying
The Prodigal Son
Sir Thomas More
Collection of Mr. Neeld
Barber-Surgeons' Hall
Bridewell Hospital
C. S. Bale, Esq.
Rt. Hon. Henry Labouchere at
Stoke
W. Fuller Maitland, Esq., Stan-
stead House
Duke of Norfolk, Arundel Castle
)»
)>
>>
>>
>)
)>
Colonel Egremont Wyndham, Pet-
worth
»>
>)
i)
>)
j>
>)
>»
>t
University Galleries, Oxford
Duke of Marlborough, Blenheim
Palace
Earl of Radnor, Longford Castle
Earl of Pembroke, Wilton House
)!
)>
Earl of Suffolk, Charlton Park
J. P. Miles, Esq., Leigh Court
Lord Northwick, Thirlstane House
>> )>
Warwick Castle
Mr. Martin, Ham Court, Worcester-
shire
Liverpool Institution
Mr. Blundell Weld of Ince
388 WAAGEN'S "TREASURES OF ART
■>•>
p. 264
P- 3*3
P- 323
II
P- 334
PP- 334-5
P- 342
P- 346
II
P- 359
p. 388
P- 398
p. 407
p. 428
P- 443
>)
p. 449
P- 456
>)
p. 462
p. 482
Vol IV
PP- 35-8
p. 67
11
P- 77
P- 97
p. 119
p. 188
p 269
ii
i>
p. 272
P- 33i
P- 339
P- 355
PP- 356"7
P- 357
P- 359
>)
p. 361
Woman with a White Pigeon
Sir Nicholas Carew
Duke of Norfolk
Henry VIII
Man's Portrait
Sir Thomas More and his Family
Portrait of vEcolampadius
Henry VIII, full length
Head of an Old Man
The Drawings at Chatsworth
Portrait of a Man
Henry VIII, full length
Henry VIII, half length
Edward VI
Anne Boleyn
Portrait of a Woman with folded hands
" A small picture in a circle, dated 1527 "
William Fitzwilliam, Earl of Southampton
Henry VIII
Henry VIII, Princess Mary, and Somers
Queen Catherine Parr
James, King of Scotland, and his Wife,
Margaret, Daughter of Henry VII
Henry VIII (attributed to Gerard Hore-
bout)
(Supplemental, 1857)
The British Museum drawings
Edward VI as an Infant
Henry VIII
" Portrait of a Man with features resem-
bling the House of Habsburg "
Johann Herbster
Princess Mary, afterwards Queen. Minia-
ture
The Ascension. Drawing, design for a
painted window
Edward VI
Duke of Somerset, the "Protector"
Bust of Henry VII, in dark stone, " by
Pietro Torregiano, 15 19"
Portrait of Sir Thomas Gresham. ('* Not
by Holbein, but possibly of the Lom-
bard School ")
John Russell
Henry VIII
Sir Anthony Denny
Erasmus
Peter ^gidius
The Two Ambassadors
A Man in a Black Dress called Luther
Lady Carey
Earl of Lonsdale, Lowther Castle
Duke of Buccleuch, Dalkeith Palace
Earl of Carlisle, Castle Howard
?) ii
Mr. Meynell Ingram, Temple
Newsham
Mr. Charles Winn, Nostell Priory
W. V. Wentworth, Esq., Went worth
Castle
Duke of Devonshire, Chatsworth
Earl of Shrewsbury, Alton Towers
Duke of Rutland, Belvoir Castle
Marquis of Exeter, Burleigh House
ii >>
Sir John Boileau, Ketteringham Hall
Mr. Tomline, Orwell Park
i> 11
Fitzwilliam Museum, Cambridge
Earl Spencer, Althorp
Glendon Hall
Marquis of Bute, Luton House
Lord Yarborough, Arlington Street
n n
Alexander Barker, Esq.
Mr. Baring's Collection
C. Sackville Bale, Esq.
William Russell, Esq., 38 Chesham.
Place
Duke of Northumberland, Syon
House
Lord Jersey, Osterley Park
Duke of Bedford, Woburn Abbey
Earl Amherst, Knole Park
Lord Folkestone, Longford Castle
II
II
11
11
11
11
11
II
II
11
WAAGEN'S "TREASURES OF ART" 389
p. 364
Lady Jane Grey
P- 394
" Portrait of Scanderbeg "
P- 435
Sir Nicholas Carew
p. 464
Lord Cromwell
>>
Sir Thomas More
>)
Erasmus
p. 498
Henry VIII
P- 5°9
Portrait of a Man in a Black Dress and
Cap
P- 511
Portrait of a Man with a Cap and Baton,
said to be Sir Thomas More
P- 5J5
Portrait of a Man in a Black Dress,
holding a Palm in his Left Hand
p. 516
Portrait of Nicolas Kratzer
P- 5X7
Henry VIII, full length
Earl of Normanton, Somerley
Lord Methuen, Corsham Court
Duke of Buccleuch, Dalkeith Palace
The late Lord Douglas, Bothwell
Castle
William Drury Lowe, Esq., Locko
Park
Duke of Newcastle, Clumber Park
Duke of Portland, Welbeck Abbey
Viscount Galway, Serlby
A SHORT BIBLIOGRAPHY
The following list includes only a few of the more modern and
more important of the many contributions to the literature dealing
with the life and art of Hans Holbein the Younger. A very complete
bibliography of the artist will be found in Schweiz. Kiinstlerlexikon,
vol. ii., Frauenfeld, 1906, to which the student is referred. Additional
references will be found in the text and footnotes of this book.
Amiet, Hans Holbeins Madonna von Solothurn und der Stifter Nikolaus Conrad,
1879.
Baldry, A. L., Drawings of Hans Holbein, " Drawings of the Great Masters "
series. George Newnes, Ltd. Not dated.
Bell, C. F., F.S.A. Catalogue of a Loan Collection of Portraits of English Historical
Personages who died prior to the year 1625. Oxford, Clarendon Press, 1904.
Benoit, Francois, Holbein (" Les Maitres de l'Art "). Paris. Not dated.
Binyon, Laurence, Catalogue of Drawings by British Artists and Artists of
Foreign Origin working in Great Britain, preserved in the British Museum,
vol. ii. pp. 326-43.
Black, W. H., F.S.A. , and Franks, A. W., F.S.A., Discovery of the Will of Hans
Holbein. Archseologia, vol. xxxix. pp. 1-18.
Black, W. H., F.S.A., On the Date and other Circumstances of the Death of Holbein,
&c. Archaeologia, vol. xxxix. pp. 272-6.
Blomfield, R., A.R.A., History of Renaissance Architecture in England, i. p. 18,
1897.
Brewer, J. S., M.A., and Gairdner, Dr. James, C.B., Letters and Papers,
Foreign and Domestic, of the Reign of Henry VIII, 1509-154.J, 1862-1902.
Burckhardt, A., Hans Holbein. Basel, 1885.
Burckhardt, A., Hans Holbeins Ehefrau und ihr erster Ehemann Ulrich Schmid,
Basler Zeitschrift fur Geschichte und Altertumskunde, Bd. v. p. 420.
Burckhardt-Werthemann, D., Drei wiedergefundene Werke aus Holbeins
friiherer Basler Zeit. Basler Zeitschrift fiir Geschichte und Altertumskunde,
iv. 27.
Chamberlain, A. B., A Newly Discovered Portrait of Thomas Cromwell. Burlington
Magazine, No. cv. vol. xx. (December, 1911) p. 175.
390
BIBLIOGRAPHY 391
Chamberlain, A. B., Holbein's Visit to " High Burgony." Burlington Magazine,
No. cix. vol. xxi. (April, 1912) pp. 25-30.
Chatto, W. A., A Treatise on Wood Engraving, ed. H. G. Bohn. Chatto and
Windus, 1 861.
Churchill, S. J. A., Two Unpublished Portraits by Hans Holbein. Burlington
Magazine, No. cvi. vol. xx. (January, 1912) p. 239.
Colvin, Sir Sidney, The Ambassadors Unriddled (review of Mr. W. F. Dickes'
book). Burlington Magazine, No. vi. vol. ii. (August, 1903) pp.
367-9-
Colvin, Sir Sidney, On a Portrait of Erasmus by Holbein. Burlington Maga-
zine, No. lxxx. vol. xvi. (November, 1909) pp. 67-71.
Conway, Sir Martin, and Cust, Lionel, M.V.O., Portraits oj the Wyat Family.
Burlington Magazine, No. lxxxi. vol. xvi. (December, 1909) pp. 154-9.
Cox, Mary L., Inventory of Pictures, &c., in the possession of Alethea, Countess
of Arundel, at the time of her Death at Amsterdam in 1654. Burlington
Magazine, No. ci. vol. xix. (August, 191 1) pp. 282-6 ; No. cii. vol. xix.
(September, 1911) pp. 323-5.
Cust, Lionel, M.V.O., F.S.A., Lucas d'Heere. Magazine of Art, August, 1891.
Cust, Lionel, M.V.O., Notice of the Life and Works of Lucas d'Heere, &c.
Archaeologia, vol. liv. pt. i. pp. 59-80.
Cust, Lionel, M.V.O., The National Portrait Gallery. Illustrated Catalogue,
2 vols., Cassell & Co., 1901.
Cust, Lionel, M.V.O., Foreign Artists of the Reformed Religion working in
London from about 1560 to 1660. Proceedings of the Huguenot Society
in London, vol. vii. No. i. pp. 45-82, 1903.
Cust, Lionel, M.V.O., The Royal Collection of Paintings, vol. ii., Windsor Castle.
Heinemann, 1906.
Cust, Lionel, M.V.O., fohn of Antwerp, Goldsmith, and Hans Holbein. Burling-
ton Magazine, No. xxxv. vol. viii. (February, 1906) pp. 356-60.
Cust, Lionel, M.V.O., The Lumley Inventory and the Painter H. E. Burlington
Magazine, No. lxxii. vol. xiv. (March, 1909) pp. 366-8.
Cust, Lionel, M.V.O., A Portrait of Queen Catherine Howard by Hans Holbein
the Younger. Burlington Magazine, No. lxxxviii. vol. xvii. (July, 1910)
pp. 193-9.
Cust, Lionel, M.V.O., On a Portrait Drawing by Hans Holbein the Younger
(Sir Charles Wingfield) . Burlington Magazine, No. xcv. vol. xviii. (February,
1911) pp. 269-70.
Cust, Lionel, M.V.O., On Two Portraits attributed to Gerlach Flicke. Burlington
Magazine, No. c. vol. xix. (July, 1911) p. 239.
Cust, Lionel, M.V.O., Notes on the Collections formed by Thomas Howard, Earl
392 BIBLIOGRAPHY
of Arundel and Surrey, K.G. Burlington Magazine, No. ci. vol. xix (August,
1 911) pp. 278-81 ; No. civ. vol. xx (November, 191 1) pp. 97-100 ; No. cvi.
vol. xx. (January, 1912) pp. 233-6) ; No. cviii. vol. xx. (March, 1912)
pp. 341-3 ; No. cxiii. vol. xxi. (August, 1912) pp. 256-8.
Cust, Lionel, M.V.O., A Newly-discovered Portrait of Thomas Cromwell.
Burlington Magazine, No. ciii.jvol. xx. (October, 191 1) pp. 5-6.
Cust, Lionel, M.V.O., " The Family of Sir Thomas More," by Hans Holbein.
Burlington Magazine, No. cxv. vol. xxii. (October, 1912) pp. 43-4.
Cust, Lionel, M.V.O., and Bell, C. F., F.S.A., Burlington Fine Arts Club,
Catalogue of Exhibition illustrative of Early English Portraiture, 1909.
Davies, Gerald S., M.A., Hans Holbein the Younger. George Bell & Sons, 1903.
Davies, Randall, An Inventory of the Duke of Buckingham's Pictures in 1635.
Burlington Magazine, No. xlviii. vol. x. (March, 1907) pp. 376-82.
Develay, V., Eloge de la Folie d'Erasme. 3rd ed. Paris, 1876.
Dickes, W. F., Holbein's " Ambassadors " Unriddled. Cassell & Co., Ltd.
Not dated.
Dimier, L., French Painting in the Sixteenth Century. (Trans, by Harold Child.)
Duckworth & Co., 1904.
Dimier, L., Le Primatice. Paris, 1900.
Dodgson, Campbell, Neues uber Holbeins Metallschnitte zum Vaterunser.
Mitteilungen der Gesellsch. fur vervielfaltig. Kunst, 1903, p. 1, and 1905,
p. 10.
Dodgson, Campbell, Hans Liitzelburger and the Master N. H. Burlington
Magazine, No. xlvii. vol. x. (February, 1907) pp. 319-22.
Dodgson, Campbell, An Alphabet by Hans Weiditz. Burlington Magazine,
No. lix. vol. xii. (February, 1908) pp. 289-93.
Dodgson, Campbell, A Portrait by Hans Holbein the Elder. Burlington
Magazine, No. lxvii. vol. xiv. (October, 1908) pp. 37-43.
Dodgson, Campbell, Das Holzschnittportrat von N. Borbonius. Gesells. fur
vervielfaltigende Kunst, Mitteilungen xxxi. 1908, p. 37.
Dodgson, Campbell, Catalogue of Early German and Flemish Woodcuts, &c, in
the British Museum, vol. ii. 1911, p. 320.
Dodgson, Campbell, notes by, Vasari Society, Pt. i. Nos. 17 and 18 ; Pt. ii. No. 31 ;
Pt. v. No. 28.
Douce, Fran cis, Holbein's Dance of Death. 1858 edition. H. G. Bohn.
Earp, F. R., M.A., Descriptive Catalogue of the Pictures in the Fitzwilliam Museum,
pp. 97-8. University Press, Cambridge, 1902.
Einstein, Lewis, The Italian Renaissance in England, 1902.
Fidler, G., Holbein's Porch. The Art Journal, 1897, pp. 45-8.
BIBLIOGRAPHY 393
Fortescue, Mrs. G., Holbein. (Little Books on Art.) Methuen & Co., 1904.
Foster, J. J., British Miniature Painters and their Works. 1898.
Frisch, A., and Woltmann, A., Hans Holbein des Aeltem Silberstiftzeichnungenim
kgl. Museum zu Berlin. Soldau, Nuremberg.
Frolicher, Elsa, Die Portrdtkunst Hans Holbeins des Jiingeren und ihr
Einfluss auf die schweizerische Bildnismalerei im XVI Jahrhundert (Studien
zur deutschen Kunstgeschichte, No. 117). Heitz & Mundel, Strasburg,
1909.
Fry, Roger, E., Early English Portraiture at the Burlington Fine Arts Club.
Burlington Magazine, No. lxxiv. vol. xv. (May, 1909) pp. 73-5.
Ganz, Paul, Hans Holbein d. J. Einfluss auf. d. schweizerische Glasmalerei. Jahrb.
d. kgl. preuss. Kunstsamml., xxiv. (1903) pp. 197-207.
Ganz, Paul, Handzeichnungen schweiz. Meister des XV-XVIII Jahrh. Helbing
and Lichtenhahn, Basel, 190*8.
Ganz Paul, Handzeichnungen von Hans Holbein dem Jiingeren. Julius Bard,
Berlin, 1908.
Ganz, Paul, Hans Holbeins Italienfahrt. Stiddeutsche Monatshefte, May,
1909, p. 599.
Ganz, Paul, Two Unpublished Portraits by Hans Holbein. Burlington Magazine,
No. ciii. vol. xx. (October, 1911) pp. 31-2.
Ganz, Paul, Hans Holbein d. J. : des Meister s Gemalde in 252 Abbildungen.
(Klassiker der Kunst in Gesamtausgaben No. xx.) Stuttgart, 191 2. French
translation, Hachette & Co., Paris, 1912.
Ganz, Paul, Die Handzeichnungen Hans Holbeins des Jiingeren. Deutscher
Verein fur Kunstwissenschaft E.V., Julius Bard, Berlin. In course of
publication. To be completed in 50' parts (500 plates).
Ganz, Paul, and Major, Emil, Die Entstehung des Amerbach 'schen Kunst-
kabinets und die Amerbach'' schen Inventare, in the 29th Annual Report of the
Public Picture Collection in Basel, 1907.
Gauthiez, Pierre, Hans Holbein sur la route d'ltalie. Gazette des Beaux-Arts,
December, 1897 ; February, 1898.
Gauthiez, Pierre, Holbein : Biographie Critique (Les Grands Artistes),
Laurens, Paris. Not dated.
Glaser, Curt, Hans Holbein der Altere (Kunstgeschichtliche Monographien,
XL). K. W. Hiersemann, Leipzig, 1908.
Goette, A., Holbeins Totentanz und seine Vorbilder. Strasburg, 1897.
Halsey, Ethel, Gaudenzio Ferrari (Great Masters in Painting and Sculpture).
G. Bell & Sons, 1904.
Heath, Dudley, Two New Portrait Miniatures by Hans Holbein. The Con-
noisseur, July, 1907, pp. 143-4.
394 BIBLIOGRAPHY
Hegner, U., Hans Holbein der Jiingere. Reimer, Berlin, 1827.
Heitz, P., Busier Buchermarken. Heitz, Strasburg, 1895.
Hervey, Mary F. S., Holbein's "Ambassadors" : the Picture and the Men.
George Bell & Sons, 1900.
Hervey, Mary F. S., A Portrait of Jean de Dinteville, one oj Holbein's Ambas-
sadors. Burlington Magazine, No. xvi. vol. v. (July, 1904) p. 413.
Hervey, Mary F. S., Notes on Some Portraits oj Tudor Times. Burlington
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PP- 48-55-
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INDEX
{The Lists of Pictures by or attributed to Holbein, &v., exhibited at various exhibitions
between 1846 and 1912, Vol. ii. pp. 359-389, are not included in the Index.)
Abbate, Niccolo dell', of Modena, i. 281,
287 note
Abergavenny, castle and lordship, ii. 288
— George Nevill, 3rd Earl of, ii. 222, 248,
255
Acorre, i. 105 note
Adagia (Erasmus), i. 45, 49
Addison, Joseph, i. 328 note
Advocates' Library, Edinburgh, ii. 148, 343
.ZEgidius, Petrus, i. 62, 163, 193, 255, 288-9,
298, 339 ; "• 265
JEmilius (CEmmel), George, i. 212, 224
JEnece Platonici Christiani, &c. (pub. Froben,
1516), i. 191
Airell, Richard, i. 265
Aix-la-Chapelle, ii. 15
Aix-les-Bains, i. 344 note
Akersloot, W., engraver, i. 87
Albertina, Vienna, i. 5, 60, 161 note, 344 note
Albury, i. 171 note
Alciat, i. 84, 174
Aldegrever, ii. 52 note
Aldenham, Lord (collection), ii. 169
Alessandro of Milan, see Carmillian, Alys
Alexander VI, Pope, i. 271
Alexander, Thomas, painter-stainer, i. 261
Alexe of Myllen, see Carmillian, Alys
Algarotti, Count Francesco, i. 242-3
Allington Castle, Kent, i. 336
Alsop, T., barber-surgeon, ii. 291, 293
Altdorfer, ii. 270
Althorp, ii. 14, 72, 93, 107, 141, 352
Altishofen, Colonel Karl Pyffer von, i. 71
Altman, Mr. Benjamin (collection), ii. 82, 348
Altorf, i. 74, 77
Amadas, Robert, Master of the Jewel House,
ii. 58, 287
Amberger, C, ii. 17 note, 310
Ambraser Collection, Vienna, i. 60 ; ii. 70
Amerbach, Basilius, i. 45, 85, 102, 181, 345
— Bonifacius, i. 39, 45, 74-5, 84-7, 90,
122, 151, 174, 177, 180, 250, 253, 341, 343,
345, 352 ; ii. 87-8, 256, 259, 264, 331, 340,
344
— Collection, Inventory, &c, i. 5, 38, 40,
44. 55-6. 60, 75, 79, 84-5, 87, 99, 100-
102, 106, 113, i2i, 135, 146, 157, 161, 174,
180-1, 186, 199, 246-7, 250, 344-5, 347;
ii. 87-8, 260-1, 329
VOL II. 4QI
Amerbach, family house, i. 122
— Hans, i. 85
Amiet, ii. 390
Amsterdam, i. 27, 28, 106, 224, 240-1, 243-
244. 335 ; "• 15. 25-7, 64, 112, 199, 213,
231, 248
— Museum, i. 165 ; ii. 304, 308
Andermatt, i. 77 ; ii. 324
Andlau, ii. 82
Andlau, Convent of, Alsace, ii. 326
Andlau, Von, family, i. 145 ; ii. 326
" Androw, painter," see Wright, Andrew
Angelrot, Balthazar, goldsmith of Basel,
i. 1 17-8
Angeviller, Mons. d', ii. 327
Anne, Queen of England, i. 107 ; ii. 52, 203
— Boleyn, Queen, see Boleyn
— of Cleves, Queen, see Cleves
Anthony, Anthony, of the Ordnance Depart-
ment, ii. 297-8
" Anthony, Mr., the King's servant," ii. 294,
296-8
Anstis, Order of the Garter (1724), i. 319
Antiquaries, Society of, i. 287 note, 291, 313 ;
ii. no, 125, 137, 271
Antiquities of Westminster (J. T. Smith),
ii. 267
Antonine Abbey of Isenheim, Vicar of, i. 254
Antwerp (town), i. 62, 163-4, I7^, 245, 264,
268-9, 273-4, 288-9, 329 : "• 27, 87, 152,
176, 198, 230, 264, 298, 307-8, 341
" Antwerp, Glazier of " (Galyon Hone ?),
i. 268
Antwerp, Hans of, ii. 8-14, 215, 275, 286-8,
295-7
Antwerp Museum, i. 164
Anwarpe, Augustine, ii. 13
Anwarpe, Roger, ii. 13
Apelles, i. 227, 247 ; ii. 75
Apethorpe Hall, Northamptonshire, ii. 222
Apian, Peter, ii. 50
Apiarius, see Bienenvater
Appuldurcombe, Isle of Wight, ii. 165
Aragon, Queen Katherine of, i. 272 ; minia-
ture of, 308; 317; ii. 109-10, 117, 131,
212, 233, 235, 237
Arbury, Warwickshire, ii. 210
ArchcBologia, ii. 38, no, 125, 137, 170
Archangell, Italian lead-caster, i. 314
2 C
4-02
INDEX
Archer, Wykeham, ii. 2 note
Architectural Remains of Reigns of Elizabeth,
&c. (Richardson), ii. 271 note
Arcos, Duke d', i. 272
Aristotle, i. 159, 199
Arkeman, Philyp, painter, i. 278
Art Treasures Exhibition, Manchester, 1857,
ii. 360-1
Arthur, Prince of Wales, ii. 136
Arundel, Alathea, Countess of, i. 106, 178,
335 ; ii. 25, 64, 199, 209, 248
— Castle, ii. 135, 137, 197, 199, 201, 303,
307
— Collection and Inventory (1655), i- 27-8,
60, 71, 106, 171, 177, 179 note, 285, 295
note, 318-19, 323, 325 note, 328 note, 335 ;
ii. 15, 19, 25, 44, 53, 61, 64-5, 67-9, 72,
77, 81, 84, 89, 112, 164, 166 and note, 181
and note, 182 and note, 193, 198 and note,
200-1, 205 and note, 209, 213 note, 214,
216, 219, 231, 246, 248, 263, 270, 276, 283,
342
— Earl of, in Basel, i. 252
— Elizabeth, of Telverne, i. 334
— Henry FitzAlan, 12th Earl of, i. 178 ;
ii. 307
— Henry Frederick, Earl of (1608-52), ii.
219
— Philip Howard, Earl of (1557-95), ii. 135
— Thomas Howard, Earl of (1 585-1646),
i. 28, 178, 241, 318, 323, 328 note, 335; ii.
19, 25, 61-2, 64-6, 68-9, 77, 84, 107, 135,
166, 181, 193, 198, 201, 209, 216, 231, 246,
247 and note, 248, 299, 341-2
— Sir John, of Teloerne, i. 334
— House, ii. 25
Asper, Hans, ii. 311 note
Athenceum, i. 297, 305
Aubrey, i. 301
Audley, Lady, ii. 220, 222-3, 255, 258
— John Touchet, 9th Lord, ii. 223
Augsburg (town), i. 1-3, 5, 6, 8, 9, 13-15,
19, 20, 22, 23, 29, 31, 32, 42, 65, 74, 145,
148, 168, 189, 190, 214, 331 ; ii. 162, 300
Augsburg, decorative arts in, i. 31
— Cathedral, i. 7
— Episcopal Library, i. 4
— Gallery, i. 3, 4, 8, 10, 23, 24, 39, no;
«. 323
— Kaisheimer Hofs, i. 7 note
— Painters' Guild, i. 22
— St. Katherine, Convent of, i. 4, 7, 9, 10,
14, 15, 23, 24
— St. Moritz Church, i. 13
— St. Sauveur Church, i. 15
Augustus III, King of Poland and Elector
of Saxony, i. 242-3 ; ii. 67
Augustyne, John, i. 262
Aumale Collection, Chantilly, i. 1 1
Austria, Duke Leopold of, i. 71
— Margaret of, see Margaret
Autun, ii. 148
Auxerre, ii. 43, 45 note
Avaux family, ii. 37
Avignon, i. 84, 174
Avogadro, Venetian banker, i. 242-3
Aylif, T., Warden of Barber-Surgeons' Com-
pany, ii. 291
Bacon, John, of Cambridgeshire, ii. 210
Baer, Hans, i. 35-6, 53
— Magdalena, i. 53, 234
Baggeley, Mr., ii. 107
Bagnols, agent of Frederick, Prince of Wales,
ii. 199
Baker, Mr. C. H. Collins, ii. 89 note
Balcarres, Lord, ii. 136
— MSS., ii. 148, 343
Baldinucci, i. 306
Baldry, A. L., ii. 390
Baldung, Hans, see Grien
Bale, C. Sackville (collection), ii. 237
Ballard, Thomas, painter-stainer, i. 261
Bamberg (town), i. 69
— Library, i. 19
Bandz, Tomas, ii. 7
Banister, Edward, i. 178
Bar and Lorraine, Francois, Duke of, ii. 120,
130
Bar-le-Duc, ii. 147
Bar-sur-Seine, ii. 40, 42
Barbers, Company of, ii. 289
Barber-Surgeons' Company, ii. 289-91, 293-4
— Hall, ii. 289, 293, 346, 350
Bardi family, i. 270
— Pietro di, i. 271
Barker, Christopher (Garter), i. 262
Barnborough Hall, i. 300; ii. 335-6
Barnes, Dr., ii. 173
Bamet, ii. 335
Baron, Bernard, engraver, ii. 294
" Barough," ii. 119
Barrett family, of Lee Priory, ii. 18 1-2, 235
— Mr., of Lee Prior}-, ii. 109, 181-2
— Mr. T. B., ii. 182
" Barrough, Ladie Marqueis of," ii. 1 18-19,
121, 128
Bartolozzi, F., R.A., ii. 250
Basel, i. 1, 15, 22-3, 31-3, 35-7, 43, 45-6,
49, 53, 55. 57-8. 65, 75, 78, 80-2, 84, 87,
90, 101, 104, 106, 109, in, 115-16, 137,
141-2, 145, 147, 151, 153, 157, 158-9,
162-3, 166-9, I?2, 174-7, l88> 190-1. !95.
200-2, 204-6, 208, 211, 218, 225, 228,
232-3, 236, 241, 245-8, 252-5, 262, 288,
291, 298-9, 321, 338-41, 343, 347. 35i .'
ii. 5, 6, 12 note, 32-5, 46-7, 56, 63-4, 71,
77, 87, 91, 150-1, 154-64, 186, 191-2, 211,
213, 219, 227, 240, 260, 268, 297, 300-1,
311, 313, 319, 325-6, 328-30
Baumleingasse, No. 18 (" zum Luft "),
i. 163 ; zur Blume, inn, i. 123 ; Carthusian
Monastery, i. 90 ; Cathedral, i. 87, 91,
95, 113-15. I48> T54> 340; Dominican
Monastery, i. 205, 208 ; ii. 156 ; Eisen-
gasse, i. n 7-1 8, 120; Fischmarktplatz,
INDEX
403
i. 123, 163 ; Gerbergasse (" zum Papst "),
i. 1 ; Historical Museum, i. 83, 150 ;
Kunstverein, i. 51 ; Library, i. 5, 91-2,
113, 239; ii. 6, 329; Painters' Guild
(Zunft zum Himmel), i. 58-9, 82-3, 97,
121, 232 ; ii. 32-3, 47, 63, 157-8 ;
Public Picture Gallery (see below) ; Rhein-
gasse, i. 122 ; Rhine Bridge, i. 102, 117 ;
Rhine Gate, i. 351 ; St. Leonhard, i. 190 ;
St. Johann Vorstadt, i. 205, 339 ; ii. 156 ;
Haus zum Tanz, see Dance, House of the ;
Town Archives, i. 58-9, 83, 126, 339 ;
Town Council, i. 59, 90, 106, 124, 126-7,
130, 181, 198, 205, 232, 252, 254-5, 338-
340, 347, 351; n. 34-5, 63, 158-9, 161-3,
191, 300 ; Town Hall and Council
Chamber (wall paintings), i. 91-2, 106,
118, 123-34, 343. 347-52; h. 157. 262-4,
313-4 ; University, i. 37, 45, 84, 93, 145,
183 ; 11. 328-9, 357
Basel Public Picture Collection (Gallery), i.
7 note, 9, 19, 26, 35, 37, 39, 42-3, 45, 50-2,
54 note, 55, 58-61, 63, 65, 68, 77-9, 81,
84-5, 87-8, 91, 98-9, 101, 106, 112-13,
120-1, 125, 127-31, 137, 142-3, 145, 147-
150, 159-61, 172-3. 175. x77> l8°. 182-3,
185, 186 note, 188, 205, 207, 228, 230, 236,
241, 245, 289, 291, 321, 338, 343, 346-8,
350-1 ; ii. 87 and notes, 167-8, 189, 211,
238, 248, 255-6, 259-60, 273, 275-8, 2S1,
283-4, 3H. 327-9. 356-7, 400
— Jergen ze, ii. 7
Basilea Sepulta (Tonjola), i. 127, 130
Basville, Marquis de, ii. 46
Bathoe (James IPs catalogue of pictures),
ii. 249
Battle of Bosworth Field (jewel with pendant
miniatures, by Hilliard), ii. 234
Battle of Spars (Hampton Court), i. 258,
315-16 ; ii. 64, 91, 215
" Bauerntanz," see Dance, House of the
Bavaria, i. 15
— Duke Albrecht V of, ii. 241
— Maximilian I, Elector of, i. 17
Bavarian National Museum, Munich, ii.
241-2
Bayersdorfer, A., i. 237
Bayonne, ii. 38
Beard (Byrd), Richard, ii. 173-5, 177, 184
Beau champ, Earl (collection), ii. 304, 309
Beaufort, Lady Margaret, her monument,
i. 272
Beaujon, Nicolas, ii. 45 and note, 46
— Sale and Catalogue, 45 and note, 46-7
Beaune, i. 153, 174
Beaver, Alfred, Memorials of Old Chelsea,
i. 315 ; ii. 272
Bebelius, Johannes, printer, i. 202, 225
Beckford Collection, ii. 278
Beckman, Barthold, Steelyard merchant,
ii. 6
Bedford, Duke of (sale and collection),
i. 304 note ; ii. 112, 351
Bedford, John Russell, Earl of, ii. 256
Bell, Mr. C. F., F.S.A., ii. 237, 390
— John (painter of Henry VIII's tomb),
i. 269, 272
Bellay, Guillaume du, ii. 38-9
— Jean du, ii. 38-9
Bellin, Nicolas, of Modena, i. 281-6, 287
note, 314 ; ii. 186, 201, 269 note, 303, 333
Belvoir Castle, ii. 100
Bemberg Ducal Library, ii. 277
Bemposta, Castle of, i. 16
" Benedict, the King's tomb-maker," see
Rovezzano
Bentinck family, ii. 187
Bentinck, Hans William, 1st Earl of Port-
land, ii. 187
Bentinck, William, 3rd son of 1st Earl of
Portland, ii. 187
" Benting, Lord William, Lord of Rhoon,"
ii. 187
Berck (Berg), Derich, Steelyard merchant,
ii. 22-3, 83
Bergh, Mayer van den, Collection, Antwerp,
ii. 230
Beringen, Anna von, i. 33
— Ycher von, i. 33
Berkeley, Thomas, Lord, ii. 72
Berlepsch, H. E. von, i. 121
Berlin, i. 204, 242
Berlin, Kaiser Friedrich Museum and Royal
Print Room, i. 11, 18, 21, 25-6, 119-20,
142-3, 182, 206-7, 214, 242, 354; ii. 4-6,
15, 16, 31, 201, 205-6, 248, 255, 259, 278,
324. 353
Bermondsey, i. 262
Bernal, Ralph, Sale (1855), ii. 53
Bernardi family, painters, i. 287
Bernburg Library, i. 5
Berne, i. 3, 32, 77, 202, 204, 241 ; ii. 161-2
— Dominican Monastery, i. 206 ; His-
torical Museum, i. 141 ; Town Council,
ii. 162
Bernoulli, Dr. C. Chr., ii. 331, 341
Beromunster Cloisters, Lucerne, i. 79
Berry, dukes of, i. 175
— Duke Jehan of, and Duchess, i. 175-6
Bertholdo, i. 271
Besancon, i. 149, 174, 179 note
Besselsleigh, Berks., i. 301
Bettes, John, ii. 210, 241, 308-9
— Thomas, ii. 241, 309
Beverley, Yorks., ii. 334
Bewick, John, Emblems of Mortality, i. 214
— Thomas, i. 214
Bibliotheque Nationale, Paris, i. 142, 144, 207
Bickley Hall, Kent, ii. 33
Bicocca, battle of, i. 72
Bienenvater, Matthias (Apiarius), printer of
Berne, i. 202
Binck, Jacob, ii. 250
Binnink, Simon, of Bruges, miniaturist, ii.
238-9
Binyon, Mr. Laurence, i. 356 ; ii. 390
4°4
INDEX
Birmann, i. 127
Bisschop, Jan de, i. 243 ; ii. 27-8
Black, Mr. W. H., F.S.A., ii. 294, 297-8, 390
Blackheath, i. 295
Blakenhall, William, i. 327
Blamire, Mr. W., sale (1863), ii. 230, 237
" Blanche Rose," i. 283; ii. 333
Blankenberghe, near Bruges, ii. 238
Bletz, Zacharias, registrar of Lucerne, i. 64
Bloemaert, ii. 341
Blomefield, Norfolk, i. 326
Blomfield, Mr. Reginald, A.R.A., ii. 272 and
note, 390
Blond, Michel le, see Le Blond
Bock, Hans, the Elder, i. 105-6, 126-7; "■
311 note
Bode, Dr., i. 335 ; ii. 196, 342
Bodenham family, i. 353, 355-6 ; ii. 351
— Mr. Charles, i. 355
— Thomas, i. 356
Bodleian Library, Oxford, i. 171 note, 326;
ii. 81, 113, 247, 274
Boetius, De Consolatione Philosophies, i. 296
Bohemia, King and Queen of, i. 241
Boisseree, i. 91 note
Boke called the Governour (Sir T. Elyot),
i- 336
Boleyn, Queen Anne, i. 178, 262, 306, 319 ;
"• 3o-33. 38, 59. 78. 9i. 104, 109-10, 116,
192, 196, 208, 235, 237, 288
— Sir Thomas, Earl of Wiltshire and
Ormonde, i. 327 ; ii. 256
— Sir William, ii. 272
Boling, Sir John, and his mother, miniature,
signed " L.," ii. 240
Bolingbroke, Lord, ii. 230
Bollonia, Hierome Trevix, see Treviso, G. da
Bologna, i. 286
Bonnat, M. Leon, Paris (collection), i. 19, 148
Bonner, wood-engraver, i. 214
Booth, Mrs., of Glendon Hall (collection),
i. 269
Borcht, H. Van der, ii. 15
Bordeaux, i. 329
Bordone, Paris, ii. 107
Born, Derich, Steelyard merchant, ii. 17-20,
65
— Theodoricus, ii. 18-19
Borough, Lady, ii. 256
Boston, U.S.A., ii. 210, 347
Boswell, William, ii. 65
" Bottle, The," Bermondsey, i. 262
Botzheim, von, family, i. 33
— Johann von, i. 33 ; ii. 332
— Michael von, i. 33
Bouchot, Mons., i. 305
Boulogne, i. 286, 326 ; ii. 144, 303
— Captain of, ii. 6
— siege of, ii. 119
Bourbon, Nicolas, i. 211, 227, 328; ii. 38,
63. 72-5. 79. 90-1, 92 note, 288
Bourges Cathedral, i. 175-6
Brabant, i. 269
Bracquemond, Felix, etcher, i. 173
Braganza, Catherine of, i. 16
Brandon, Anne, Lady Powys, ii. 227
— Charles, Duke of Suffolk, i. 269 ; ii. ii,
44 note, 59, 193, 214, 220, 223-5, 227, 241,
280
— Charles, son of above, ii. 201, 220, 222-7,
258
— " Duke of," ii. 224
— Eleanor, Countess of Cumberland, ii.
195, 227
— family, ii. 227
— Frances, Countess of Dorset, ii. 227
— Henry, afterwards Duke of, ii. 63, 167,
220, 222-7
— Mary, Lady Monteagle, ii. 227
Braneburgh, ii. 55
Brasseur, Herr, of Cologne, i. 344 note
Braun, Urbium Prcscipnarum Mundi, &c.
(1583), i. 276
— photographer, ii. 72, 342
Bray, i. 78
— Sir Edward, of Shere, i. 309-10
— family, of Shere, i. 309
Brede Church, Sussex, ii. 272
Breidrood, Lord of, ii. 116
Brentano-Birckenstock Sale (1870), ii. 207
Brentford, i. 300
Brera Gallery, see Milan
Brescia, i. 275
Breslau, i. 83
Bretten, i. 185
Brewer, Dr., i. 256, 315 ; ii. 390
Brian, Sir Francis, Master of the Toils,
ii. 142, 144-6
Brickdon, Huntingdonshire, ii. 226
Bridewell Hospital, see London
— Palace, ii. 42-3, 292
Brighton Art Gallery, ii. 104
Bristol, Marquis of, ii. 72
British Institution Exhibition, 1846, ii. 359
British Museum, Print Room, i. 21-2, 63,
80, 146, 156, 182, 188, 207, 214 note, 307,
324, 356; ii. 26-7, 40, 61, 92 note, 113,
196, 211, 219, 226-7, 246, 247 note, 254,
269-70, 273-4, 276-80, 283-4, 314. 327.
337
Brocklebank, Mr. Ralph (collection), i. 54
note
Brockwell, Mr. Maurice W., i. 354-5, 357
Browne, Sir Anthony, ii. 180, 227
— John, serjeant-painter, i. 258-62, 273-4,
314
Bruce, Mr., ii. 79
Bruges, i. 289 ; ii. 5, 238-9 ; Carmelite
Church, i. 245 ; Golden Fleece Exhibition
(1907), ii. 141 note ; Painters' Guild, i. 269
Brunner, Barbara, i. 35
Brunswick Gallery, i. 73, 79 ; ii. 18, 22, 323,
326, 353
Brussels, i. 170 ; ii. 57, 61, 1 15-16, 119-20,
125, 127, 129, 140-1, 148, 150, 153, 155,
180, 349
INDEX
405
Brussels Exhibition of Miniatures (1912), ii.
57 note, 230
— Museum, i. 304
Bruyn, Bartholomaus, i. 96
Buccleuch, Duke of (collection), ii. 62, 88,
109, 170, 192-4, 221-2, 230-1, 234, 237-8,
346, 35i
Bucer, Martin, ii. 225
Buchanan, dealer, ii. 37
Biichel, Emmanuel, i. 113, 205
Buchheit, Dr. Hans, ii. 241-2
Buckingham (town), ii. 52
— Duke of, i. 166, 240, 320
— — Collection and Inventory (1635),
i. 320 ; ii. 14, 87, 215, 237, 308
— Earl of, ii. 292
— Edward Stafford, Duke of, ii. 44 note
— House, ii. 26
— Palace, ii. 249
Bugenhagen, Interpretation of the Psalms,
i. 198
Buildwas Park, Shropshire, ii. 212, 34S
Bullinger, Heinrich, ii. 156
Bulstrode Park, Bucks., ii. 52-3, 352
Burckhardt family, i. 74
Burckhardt, A., ii. 390
Burckhardt-Werthemann, D., ii. 390
Biiren, Colonel May von, i. 71-2
Burford Priory, Oxfordshire, i. 301-2 ; ii. 335
Burgkmair, Hans, i. 4, 6, 12, 30-1, 55 note, 74
— Thomas, i. 4
Burgratus, Francis, ii. 152, 172-3
Burgundy, ii. 38
— county of, ii. 150
— duchy of, ii. 150
Burke's Peerage, ii. 225
Burleigh House, ii. 107
Burlington, Earl of, ii. 294
— Fine Arts Club Exhibition (1906), i. 20,
81
— — (1909), i. 269, 286-7, 303. 308, 332 ;
ii. 81, 85, 88, 103-4, io7- io9. 165, 167,
169-70, 193-4, !99, 204, 210, 221-2, 230,
234-9> 384-6
— — Catalogue, ii. 106, 194, 204, 233-5,
239
— House, ii. 135
Burlington Magazine of Fine Arts, ii. 23, 45
note, 52 and note, 60 note, 65, 228-9, 231,
337, 400
Burnet, Bishop, History of the Reformation,
ii. 178-9
Burrell, Sir William, i. 320
Burton, Sir Frederick, ii. 44
Bute, Marquis of (collection), i. 266 ; ii. 102
Buttery, Mr. Ayerst H., i. 353, 357— S ; ii. 351
Buttessey, Barnardyne, ii. 188
Butts, Edmund, ii. 210-1, 309
— family, ii. 210-11
— Lady, ii. 83, 205, 209-10, 255
— Sir William, ii. 73, 205, 208-11, 255,
289, 291, 309
Byfield, John, wood-engraver, i. 214
Bygnalle, Rychard, painter-stainer, i. 261
Byrom, George, of Salford, ii. 6
Calais, i. 163, 178, 258-9, 268, 273, 289 ;
ii. 118, 144-5
Calard, Rychard, painter-stainer, i. 261
Caledon, Earl of, ii. 58-9, 351
Calendars of Letters and Papers, Foreign and
Domestic, &c, i. 273, 284, 287 note, 312,
314, 327, 334, 356-7 ; ii. 4, 6, 10, n, 15,
19, 21, 43, 92, 120, 141, 146, 152-3, 172,
179-80, 202, 253, 272, 298
" Calumny of Apelles," i. 62
Cambridge, ii. 211 ; Corpus Christi College,
ii. 61 ; Fitzwilliam Museum, ii. 43, 71, 204-
205, 304 ; King's College, ii. 270 ; Pepysian
Library, ii. 346 ; St. John's College, i. 325 ;
ii. 226 ; Trinity College, ii. 101, 332 ; Uni-
versity, ii. 244
Campo, History of Cremona, ii. 137
Campori, Monsignor, i. 306
Camusat, Nicolas, antiquary, ii. 41-2
Canaletto, ii. 346
Canterbury, ii. 334
— Archidiaconal Court of, ii. 302
— Prerogative Court of, i. 262
Cappes, Adryan, ii. 333
Carden, R. W., Italian Artists in England,
&c, i. 287 note
Cardiff, ii. 27 note
Cardon, Mons. C. Leon, Brussels (collection),
ii. 61
Carew, Sir George, ii. 256
— Sir Nicholas, Master of the Horse, i.
279, 337 I "• 65, 87-9, 256, 260
— Lady, ii. 87 note, 260
— Sir Peter, portrait by Flicke, i. 306
Carl the Big, Emperor, ii. 326
Carleton, Sir Dudley, i. 241 ; ii. 341
Carlisle, Earl of, ii. 245 note
Carmeliano, Peter, of Brescia, i. 275
Carmenelle, Elys, see Carmillian
Carmillian, Alys or Ellys, i. 273-6, 314
Carmillione, Elisa, see Carmillian
Carmyan, Ellys, see Carmillian
Came, Dr. Edward, ii. 131, 133, 173
Caroline, Queen, wife of George II, ii. 249
Carracci, Agostino, ii. 137
Carwardine, Sir Thomas, Master of the
Revels, ii. 244
Caspar, Lucerne goldsmith, i. 64
Cassel, i. 180
Castiglione, Count Balthazar, ii. 38
Castillon, Louis de Perreau, Sieur de, French
Ambassador in England, ii. 64, 139-45,
I52, 154
Castle Howard, ii. 44, 104, 245
Catherine of Braganza, see Braganza
Cavalcanti, Bernardo, i. 271
— family, i. 270
Cavendish's Life of Wolsey, ii. 109
Cavendish, Richard, ii. 11
Cazillac, Francois de, see Cessac
4-o6
INDEX
Cebes of Thebes, i. 193
" Cebes, Table of," i. 193-5
Cellini, Benvenuto, i. 257, 272
Cerny, Prince de (collection), ii. 45 note
Certosa of Pavia, i. 69, 76, 140
Cessac, De, family, ii. 46
— Francois de Cazillac, Baron de, ii. 44, 46
Chaloner, Thomas, ii. 214
Chamber, Dr. John, ii. 65, 112, 205, 208-9,
255, 289, 291
Chamberlaine, John, Imitations of Holbein's
Drawings, i. 334 ; ii. 249-50
Chamberlayne, Francis, ii. 56
Champagne, ii. 147
Chantilly, i. 11, 16 ; ii. 44, 52, 245
Chapuys, Eustace, Imperial Ambassador in
London, ii. 30, 32, 58-9, 111, 118, 124,
152, 172
Charing Cross, i. 265
Charles I of England, i. 106, 166-7, I72. 334 '•
ii. 104, 198, 224, 234, 245
— — Collection and Catalogue, i. 165-6,
173, 304 note, 334 ; ii. 13-14, 20, 24-5,
62, 81, 107, no, 166, 188, 209, 224, 233-4,
245-6, 248, 253, 274, 308
— II of England, i. 16, 97 ; ii. 94-5
— V, Emperor, i. 19 ; ii. 6, 30, 32, 40, 42,
in, 114, 117, 124, 131-3, 137-8, 148, 152,
171-2, 177
— VIII of France, his tomb, i. 271
— Prince, of Hesse-Darmstadt, i. 242
— de France, Monsieur, ii. 40
Chateaudun, ii. 343
Chatsworth, i. 336 ; ii. 97 note, 101, 103 note,
248, 283, 285-6, 351
Chatto, Treatise on W ood-Engraving, i. 223,
227; ii. 391
Chaumont, ii. 147
Cheam, i. 276
Cheke, Sir John, ii. 225, 244
Chelsea, i. 289-90, 302, 314, 316, 338 ; ii. 1,
145. 272, 33$
— Church (More Chapel), ii. 271-2
Cheltenham, ii. 169
Cherbourg, i. 284
Cheseman, Anne, ii. 56
— Edward, ii. 54-5
— - Robert, of Dormanswell, ii. 54-6, 203,
206, 255
— William, of Lewes, ii. 55
Chetwynd, Mr., ii. 183
Childe, John, painter-stainer i. 261
Cholmondeley Sale (1898), ii. 194
Chretien, Felix, painter, of Auxerre, ii. 45
note
Christie's, Messrs., i. 301, 307, 332; ii. 45
note, 61 note
Christina of Denmark, Duchess of Milan,
see Milan
Christina, Queen of Sweden, i. 180
Chur, i. 145
Churchill, Mr. Sydney J. A., ii. 52 note, 391
Cibber, Caius Gabriel, sculptor, ii. 33
Cibber, Colley, dramatist, ii. 33
Circignano, Nicolo, see Pomerantius
Clarendon Press, ii. 332
Clauser, Jakob, i. 46, 87; ii. 311 note
Clement, Dr. John, i. 293 ; ii. 340
— Margaret, see Gigs
Cleve, Joos van (" Sotto " Cleef), ii. 105-7,
206, 308
Cleves (duchy), ii. 12 note,' 174-5, 177. l&°
— Amelia of, ii. 154, 174-6, 178, 236
— Queen Anne of, i. 178 ; ii. 55, 65, 114-
116, 154, 171, 173-84, 192, 215, 232, 235-6,
271
— Duchess of, ii. 178
— Duke of, ii. 116, 172-3, 178, 180
— young Duke of, ii. 172-4, 177
— Sybille of, Duchess of Saxony, ii. 173,
178
Clinton, Edward, Lord, ii. 256
Clouet, Francois, ii. 261-2
— Jean, ii. 44, 106, 194, 216 note, 261
Clouets and their school, i. 175
Cob, Thomas, painter-stainer, i. 261
Cobham, George Brooke, Lord, ii. 256
— Lord, ii. 257
Cochin, N., engraver, i. 299
Codes, Peter, i. 163
Cokayne family, ii. 169
Cokethorpe Park, Ducklington, Oxfordshire,
i. 301
Colbert, i. 335
Coligny, Gaspard de, Admiral of France,
miniature by Bettes, ii. 309
College of Heralds, i. 262
Colmar, i. 5, 18, 91, 190
Colnaghi, Messrs. P. & D., & Co., ii. 136
Cologne, i. 214, 328, 335, 344 note ; ii. 5, 15-
16, 19, 22, 175, 202
— Bible (1480), i. 230 note
— University, ii. 19
Colvin, Sir Sidney, i. 177-8 ; ii. 38, 44, 48,
69. 196, 39i
Colynbrowgh, Hans, Steelyard merchant,
ii. 6
Commonwealth Commissioners (sale of
Charles I's pictures), i. 167 ; ii. 14, 25,
107, 137, 170, 246
Como, i. 77, 95, 98, 100, 139
Compiegne, ii. 131, 148, 344
Compleat Gentleman (Peacham), ii. 186 note,
270, 332
Condover Hall, Shropshire, ii. 194
Connoisseur, The, ii. 221
Conon, Johann, of Nuremberg, i. 84
Constable, Sir Thomas, Bt., of Tixall, ii. 61
Constance (town and lake), i. 1, 32-3, 344
note ; ii. 331-2
Constantyne, George, ii. 177
" Conton, Maistre," ii. 59
Conway, Sir Martin, i. 335 ; ii. 83, 391
Cook, Sir Frederick (collection), i. 20
Cope, Robert, painter-stainer, i. 261
— Sir Walter, i. 323, 328 note
INDEX
407
Copenhagen Museum, i. 16
Copp, Dr. Johannes, Evangelistic Calendar,
i. 200
Cornelisz, Lucas, ii. 81, 83
" Coronation of Henry VIII " (wall-painting
in Westminster Palace), i. 261
Correggio, i. 88
Correra, Mons. de, ii. 123
Corrozet, Gilles, i. 209, 212, 227
Corsham House, ii. 137
Corsi family, i. 270
Corsini Gallery, Rome, i. 166
Corvus, Johannes, i. 269-70 ; ii. 303-4
Cosimo II, Grand Duke of Tuscany, ii. 84
Cosmography (Sebastian Munster), i. 173,
198, 350
Cosway Collection, ii. 226
Cotes, Mr. Charles, ii. 35
Cottrell-Dormer family, i. 301
" Court of Francis II," painting by Felix
Chretien, ii. 45 and note
Court, Lord Benedike, ii. 123
Coutrai, i. 77
Coverdale's Bible, title-page, ii. 76-7, 91, 106
Cowden, Kent, i. 262
Cowdray House, ii. 204
Cox, Miss Mary, ii. 64, 391
Cracherode, Rev. C. M., i. 324
Cranach, Lucas, the Elder, i. 168 ; ii. 174
Cranmer, Thomas, Archbishop of Canter-
bury ; ii. 60, 73, 305-6
Cranmer 's Catechism, ii. 78-9
Cratander, i. 62, 188, 200-2
Cresacre, Anne, wife of John More, i. 292,
294, 303; ii. 335-7
— family, i. 300
Crispin, John, jeweller of Paris, ii. 288
Croft, Sir Archer, ii. 212
— Elizabeth, ii. 212
— Rev. Herbert, Bishop of Hereford, ii.
212
Croi, Charles de, Prince de Chimaix, ii. 154
Croke, Master John, Commissary-General,
ii. 295
Cromhout, Jacob, and sale, i. 241-4
Cromwell family, ii. 231 note
— Thomas, Earl of Essex, K.G., i. 262, 278,
326, 329; ii. 3, 6, 11, 13, 58-62, 65, 76,
88, 92, 115-22, 124, 127, 138, 140, 146,
149-50, 152-3, 172, 174, 178-9, 192, 199,
211, 222, 231-2
— — — accounts, i. 281 ; ii. 12, 232
Crozat Collection, ii. 27, 31, 246
Crust, John, painter, i. 287
Crystyne, Thomas, painter-stainer, i. 261
Cuddington, i. 276
Cudnor, William, painter-stainer, i. 261
Culpeper, Thomas, ii. 55, 196
Cumberland, i. 178
— Countess of, see Brandon, Eleanor
— Duke of, ii. 267
Cunningham, Allan, ii. 267
Curio, Valentine, publisher, i. 202
Cust, Lionel, M.V.O., F.S.A., i. 264, 269, 270,
275 note, 281, 319 note, 335 ; ii. 10-11, 12
and note, 13, 60 and note, 61, 65, 108, 133,
192, 193 note, 194-6, 205 note, 231-3, 245,
248, 253-4, 283, 296, 307, 337, 391-2, 400
" C. V." (metal cuts after Holbein), i. 188
Cyny, Domynyke, i. 273
Dacres, Alice, wife of Robert Cheseman,
ii. 56
— Alderman Henry, of Mayfield, ii. 56
Dalkeith, ii. 305, 351
Dallaway, Rev. James, i. 301, 325; ii. 189,
219 note, 247 note, 249, 268
Dalton, keeper of George Ill's drawings,
ii. 249
Dance of Death (Douce), i. 214
" Dance of Death," early representations,
i. 204-6
" Dance of Death " woodcuts, i. 48, 85, 153,
159, 175, 187, 190-1, 204-24, 290 ; ii.
187-8, 314-15
" Dance of Death," at Whitehall, ii. 186-8
Dance, House of the, i. 11 7-21, 200 ; ii. 315
Dancey, Elizabeth, i. 293, 296, 301, 303 ; ii.
336, 339
Dantiscus, Johannes, Bishop of Kulm, i.
179-80
Danzig, ii. 5
Darcy of Chiche, Thomas, 1st Lord, ii. 305
Darmstadt, Grand Ducal Palace and Museum,
i. 50, 232 ; ii. 316. 328, 354
Darnley, Lord, and his brother Charles
(portrait by Eworthe), ii. 307
David, Gherardt, i. 245, 289
— Jakob, Basel goldsmith in Paris, i. 176 ;
ii. 162-4, 298, 300
Davies, Mr. Gerald S., i. 12, 29, 42, 96-7,
108, 112-13, 245, 250, 288-9 ; "• 252-3, 392
— Miss, ii. 182
— Mr. Randall, ii. 215 note, 392
Dean, engraver, i. 295 note
De Cessac, see Cessac
Delahante, Parisian picture-dealer, i. 245
Delahay, William, i. 265
Delawarr, Countess, i. 308
De Levens en Werken, &c. (Immerzeel), i. 265
Delfino family, of Venice, i. 242-4
Delfino, Giovanni, i. 242
Demayns, John, see Maiano
Demyans, John, see Maiano
Denisot, Nicolas, i. 304-5
Denmark, Christian II, King of, ii. 117, 130,
134, 136-7
— Christian IV, King of, ii. 130
— Prince of, ii. 137
Denny, Sir Anthony, ii. 127, 214, 276, 286,
307
Dent-Brocklehurst, Mr. H. (collection), i.
269, 286 ; ii. 237-8
Deovanter, Perpoynt, Steelyard merchant,
ii. 6
Dequevauvillers, Frangois, engraver, i. 173
4o8
INDEX
Derby, Edward Stanley, Earl of, ii. 256
— Earl of, Collection (1865), ii. 183
Dereham, Francis, ii. 55, 196
Dering, Sir Edward, Bt., ii. 334
Desenfans Collection, ii. 293
Dessau Library, i. 159
Deuchar, David, i. 214
Deutsch, Niklaus Manuel, i. 159, 206, 249,
Develay, V., ii. 392
De venter, ii. 18-19
Devil's Bridge, Andermatt, i. 77, 138
Devonshire, Duke of (collection), ii. 93, 97,
99, 141, 204, 248, 351, 400
Devynk, John, painter, i. 278
Dexter, Mr. Elias, Holbein's Ambassadors
Identified, ii. 38-9
Dickes, Mr. W. F., Holbein's Ambassadors
Unriddled, i. 305 note ; ii. 5, 17 note, 18-
19. 32. 39. 45-7. \% and note, 49, 5°. I58- 392
Dictionary of National Biography, i. 302 ;
ii. 209, 225
Didlington, Norfolk, i. 325
Dielitz, Privy Councillor, ii. 15
Diepold (Augsburg), i. 2, 4
Diesbach, Nikolaus von, Dean of Solothurn,
i. 109
Digby, John, Earl of Bristol, ii. 309
Dijon, i. 149, 174
Dillon, Viscount, i. 323
Dimier, Mons. L., i. 281-2 ; ii. 254, 306, 392
Dinteville family, ii. 41
— Claude de, ii. 44
— Francois II de, Bishop of Auxerre, ii.
43, 45 note
— Jean de, Bailly of Troyes, French Am-
bassador to England, ii. 35-6, 38-46, 49-
53, 64, 69, 255, 257, 284
Diocletian, Emperor, i. 15
Ditchley, Enstone, Oxfordshire, i. 323 ; ii.
82, 101
Dobson, Austin, i. 214 note
Dodgson, Mr. Campbell, i. 21, 214 note, 309 ;
ii. 226, 227 note, 252, 392
" Domyngo," Italian painter, i. 314
Donaueschingen, i. 38, 40
Donau worth, i. 9
Doort, A. Van der, see Van der Doort
Dorchester House, i. 89 note ; ii. 72
Dordrecht, ii. 342
Dormanswell, near Norwood, ii. 54
Dorset, Marchioness of, ii. 256
Douce, Francis, i. 214; ii. 182, 186-8, 392
Dover, i. 258
" Drei Herrn," i. 124
Dresden, i. 204, 244 ; ii. 206, 211
— Gallery and Print Room, i. 17, 201, 237,
325 and note ; ii. 38, 63, 65, 67-8, 263,
329. 354
— Holbein Exhibition (1871), 1. 237
Dublin, i. 336; ii. 350
Ducheman, John, servant to Hans of Ant-
werp, ii. 13
Ducie, Mr., ii. 215
Ducklington, Oxfordshire, i. 301
Ducy, Sir William, i. 304 note
Dugdale, Sir William, i. 322
Duisburg, ii. 20-1
Dunn, Mr. James H., Canada (collection),
ii. 195, 348
Dunois, the Bailly of, ii. 343
Dunster Castle, ii. 307
Diiren, ii. 115, 173, 175-6, 181, 184, 235-6
Diirer, Albrecht, i. 42-4, 56, 60, 92, 159, 166,
168, 1 70-1, 197, 224, 264, 329 ; ii. 266,
270, 318 and note, 319-20
Dusseldorf, ii. 175
Dutch States, i. 107 ; ii. 57
Dyck, A. van, see Van Dyck
Earp, F. R., ii. 392
East Bursham, i. 270
East Hendred, Berkshire, i. 300, 304 note ; ii.
335. 340
Easterlings, see Steelyard
Eastlake, Sir Charles and Lady (collection),
ii. 26 and note
Ecclesiastical History (Fox), ii. 309
Edinburgh, ii. 141 ; Advocates' Library, ii.
148, 343 ; University Library, ii. 218
Edward III of England, ii. 2
— IV of England, ii. 197
— VI of England, i. 178, 279, 285-6,
314 note, 326 ; ii. 12 note, 65, 70, 97 and
note, 107, 113, 127, 136, 138, 164-71, 200,
205, 208, 226-7, 234-5. 238-9, 243-4, 255,
269, 288, 303-5, 310
" Edward VI transferring Bridewell to the
City of London," formerly attributed to
Holbein, ii. 169
" Edward VI," miniature by Bettes, ii. 309
*' Edward VI," portrait by " Hans Hueet,"
ii. 308
Edward VI, his portraits, ii. 164-71
Eewouts, Hans, see Eworthe
Eglin, painter, of Lucerne, i. 72
Egmond, Earl of, ii. 116
Eigner, A., i. 24, no
Einstein, L., ii. 392
Eisenach, i. 16
Elberfeld Collection, ii. 202
Elchinger, Anna, i. 3 ; ii. 162
Elector Palatine, ii. 20
Eleonora of Spain, wife of Francis I, ii. 106
Elizabeth, Princess, see Elizabeth, Queen of
England
" Elizabeth, Princess," portrait once attri-
buted to Holbein, ii. no, 169
Elizabeth, Princess, of Prussia, i. 242
— of York, wife of Henry VII, ii. 91, 94~6.
235
— Queen of England, 1. 269, 314 note ;
ii. 13, 24, 84, 92, no, 133, 135, 208, 235,
239, 272, 292, 310
Eltham, i. 295 ; 11. 334, 337
i Elyot, Sir Thomas, i. 336-7
INDEX
409
Elyot, Lady, i. 336-7 ; ii. 258
" Embarkation of Henry VIII from Dover "
(Hampton Court), i. 274
Emblems of Mortality (John Bewick), i. 214
Emendations of Pliny (B. Rhenanus), i. 168
Encomium Morice, see Erasmus
Engelberg, Burkhart, i. 20
Engel-Gros, Herr F. (Collection), ii. 71, 353
Engleberd, Melchior, painter-stainer, 261
English Artists in the reign of Henry VIII,
i. 256-63
Enschede, publisher, of Haarlem, i. 183
Enstone, Oxfordshire, ii. 101
Epigrams (Sir Thomas More), i. 193
Episcopal Library, Augsburg, i. 4
Episcopus, Nic, i. 182
Epitomes Histories Basiliensis (Wurstisen),
i. 124
Erasmus, i. 44-9, 84, 86, 90, 146, 151, 161-
174, i77-85. 192-3, 198-9, 253, 255, 288-
292, 294, 298, 313, 321-4, 329, 338-43,
350-1 ; ii. 19, 25, 65, 188, 215, 256, 265,
276, 321, 329, 331, 337, 340-1
Erasmus, Adagia, i. 45, 49, 181 ; Collo-
quies, i. 171 ; Ecclesiastce , &c, i. 181 ;
Hyper aspistes, i. 291 ; Institution of
Christian Marriage, i. 291 ; New Testa-
ment, i. 45, 62, 162, 192 ; Paraphrase of
the Gospel of St. Mark, i. 172 ; Praise
of Folly (Encomium Morice), i. 45-50,
85, 171 ; Praise of Matrimony, i. 191 ;
Precatio Dominica (metal cuts by C. V.),
i. 188 ; St. Paul's Epistle to the Romans,
i. 165
Eresby, Catherine Willoughby de, see
Suffolk, Duchess of
— William, 10th Lord Willoughby de,
ii. 225
Erhart, Dominica, i. 4
Ermeland, i. 179-80
Eschenbach, Ulrich von, painter of Lucerne,
i. 72
Este, Duke Francesco d', ii. 66
Este-Modena, Duke Francesco of, ii. 67
Eustace, Clerk of the Works at Hampton
Court, i. 327
Evangelic League, Diet of the, ii. 173
Evangelistical Calendar (Dr. Johannes Copp),
i. 200
Evelyn, John, Diary, i. 97, 171, 276, 304
note, 323, 333; ii. 95, 188, 215; Sculptura,
ii. 188
Evolls, Hans, see Eworthe
Ewen, Nicholas, gilder of Henry VII's tomb,
i. 271
Eworthe, Hans, painter, i. 270 ; ii. 307-8
Exeter, Duke of, i. 334
— Marquis of (temp. Hen. VIII), ii. 87
— — (collection), ii. 107
Exhibitions, see Basel, Brussels, Burlington
Fine Arts Club, Dresden, Manchester,
Oxford, Royal Academy, Tudor, &c. &c.
Exposition du Palais Bourbon (1874), ii. 342
Eycks, the Van, see Van Eyck
Eyston, Mr. Charles John, i. 300, 304 note
Faber, Jakob, i. 188, 200; ii. 79 note
Fabri, Dr. Johann, bishop of Vienna, ii.
330-2
Fabrinus, Petrus, rector of Basel University,
1 *45 , ..
Faesch, Johann Rudolf, ii. 328
— Johann Rudolf (d. 1823), ii. 329-30
Faesch, Remigius, burgomaster of Basel, i.
239-40; ii. 328, 330
— Dr. Remigius, grandson of above, collec-
tion and inventory, i. 5, 54 note, 88, 166,
168, 180, 239-41, 346 ; ii. 156, 328-30
Faeschische Museum, &c. (Major), ii. 329
Falkland, Viscount, i. 301
Fallen, Cyriacus, Steelyard merchant, ii. 17,
22
Farrer, picture dealer, i. 303
Fattore, II, see Penni, G. F.
Felibien, Entretiens sur les Vies, &c, ii. 25-6
Feltes, John, painter-stainer, i. 261
Fenrother, Alderman Robert, jeweller, ii.
287
Fenwolf, Morgan, see Wolf, Morgan
Ferdinand, Archduke, ii. 137
— Ill, Emperor, i. 91
Ferrara, Duke of, i. 284
Ferrari, Gaudenzio, i. 89 note, 95, 105 and
note
Ferreris, Bartholomaus, i. 28
Fidler, G., ii. 392
Field of Cloth of Gold, i. 259, 273 ; ii. 86,
103 note, 106
" Field of Cloth of Gold " (Hampton Court),
i. 258, 274
Figdor Collection, ii. 52 note
Fischart, Johann, ii. 94, 186 note
Fisher, John, Bishop of Rochester, i. 169,
289, 299, 323-5, 337 ; ii. 76, 212, 254, 267
Fitz-Alan family, ii. 135
— Henry, Earl of Arundel, see Arundel
— Lady Joan, ii. 133
— Lady Mary, ii. 135
Fitzroy, Henry, Duke of Richmond and
Suffolk, natural son of Henry VIII, ii.
no, 257
Fitz water, Lord, ii. 133
Fitzwilliam Museum, Cambridge, ii. 43, 71,
204-5, 3°4
Flaxman, John, ii. 267
Fleckenstein, Hans, of Lucerne, i. 79 ; ii.
323-4
Fleischmann, Privy Councillor, of Strasburg,
ii. 27
Fliccius, Gerlach, painter, i. 270 ; ii. 303,
305-6
Flint, Richard, painter-stainer, i. 261
Florence, i. 271-2, 276-8, 280
— Uffizi Gallery, ii. 23, 83, 355
— Duke of, i. 280
Flotner, Peter, of Nuremberg, ii. 278
410
INDEX
Flower, Dr. Wickham, ii. 184 note
Flushing, i. 289
Folkestone, ii. 302
— 1st Lord, i. 164
Fontainebleau, i. 280-4, 315 ; ii. 75, 186, 333
Foreign artists at the Court of Henry VIII,
i. 256-8, 263-87
Forest Monstier, ii. 40
Forster, i. 15
Fortescue, Mrs., Holbein, i. 108-9, 248 note,
35 1 -' "• 49. 393
Foster, Mr. J. J., British Miniature Painters,
ii. 240, 393
" Fountain of Youth," i. 70
Fox, i. 329
— Ecclesiastical History, ii. 309
Foxe, Richard, Bishop of Winchester, i. 269 ;
ii. 304
France, Admiral of, i. 284
Franche Comte, ii. 150
Francis I, King of France, i. 211, 217, 229,
257, 259, 266, 269, 281-5, 3ii J "• 6, 40,
44, 45 note, 72, 91, 106, 114, 124, 131,
133. 139-42, 144-5, 148, 154. I7*» I77.
197. 333
Francis the Courier, ii. 117
Frankfurt, i. 9, 29, 161 note, 224 ; ii. 173
— Staedel Institut, ii. 205, 207, 264, 354
Franks, Sir Augustus W., F.S.A., ii. 189,
296-7
Franz, Arnold, of Basel, ii. 219, 240-1
Freeman, engraver, ii. 61
— John, jeweller, ii. 288
Freiburg, i. 90-1, 111, 177, 180, 185, 338,
341, 351; ii. 331, 341
— University of, i. 84, 145 ; University
Chapel in Minster, i. 88, 91 ; ii. 354
Freihamer, Thomas, i. 13
Frellon, Jehan and Francois, publishers, of
Lyon, i. 212-13, 224, 227-8
French royal accounts, i. 281, 284
Frescobaldi family, i. 270
Frewen, Mr. T., i. 320 ; ii. 348
Frey family, of Lucerne, i. 65
Frick, Mr. H. C, New York (collection), ii.
340, 348
Friedlander, Dr., i. 20 ; ii. 196 ,354
Frisch, A., ii. 393
Friso, Johan Willem, Prince of Orange-
Nassau, ii. 57
Froben, Hieronymus, i. 182, 350
— Johann, printer of Basel, i. 44-5,
47, 57, 62, 162-3, 166-8, 181-4, 188-92,
194, 198, 201, 208, 253, 290, 339 ; ii. 241,
256, 329, 33i
Frolicher, Elsa, Die Portratkunst H. Holbeins
des J., &c, ii. 311 note, 393
Fromont, Hans de, ii. 11
Froschover, Christopher, printer of Zurich,
i. 202, 228 ; ii. 76
Fruytiers, Philip, painter, ii. 198, 200
Fry, Rt. Hon. Lewis, ii. 81-2
— Roger E., ii. 82-3, 99, 108, 169, 393
Fugger family, i. 6, 19
— Anton, i. 19
— Jacob, i. 19
— Raimund, i. 19
— Ulrich, i. 19
Fulham, i. 264 ; ii. 210
Fiirstenberg, Prince Carl von, i. 38
Fusina, Andrea, tomb at Milan, i. 140
Gage, Sir Edward, ii. 65
Gairdner, Dr. James, ii. 153 and note, 390
Galerie du Musee Napoleon, i. 173
Galway, Viscount (collection), i. 328 and
note ; ii. 104
Ganz, Dr. Paul, director of the Public Picture
Collection, Basel, i. 35, 39, 42, 44, 47, 56,
65, 69, 79, 81, 85 note, 88, 97, 107, 109,
112, 121, 130, 139-40. 143. I48-9. I51.
!53, 157. 159-60, 174, 184, 234 note, 344
note, 346, 350, 356 ; ii. 14-5, 19, 23, 26 note,
28, 52, 71, 83, 86, 87 note, 88 note, 93 note,
103, 108, 186 note, 193, 196, 213 and note,
214, 226-7, 230, 257, 260, 292, 323-4,
327-8, 347, 352, 393
Gardiner, Stephen, ii. 138
Gardner, Mr. E., ii. 346
Gardner, Mrs. John, Boston (collection),
ii. 210, 347
Garrard, Martin, jeweller of Paris, ii. 288
Gassner, Veronica, i. 19
Gates, Richard, painter-stainer, i. 261
" Gaunt, a painter of," i. 268
Gauthiez, Mons. Pierre, i. 78, 81 ; ii. 393
Gay, Mr. Walter, Paris (collection), i. 171
Gazette des Beaux-Arts, i. 173, 238
Gebweiler (town), i. 32
Gebwiler, i. 84
Gegenbach, Pamphilius, i. 62
Geigy-Schlumberger, Dr. Rudolph, Basel
(collection), ii. 213, 358
Gelderland, ii. 177
Genoa, i. 286
Gentils (Gentilz), President, i. 282-3 ; ii. 333
Gentleman's Magazine, i. 302
George II, King of England, ii. 249
— Ill, King of England, ii. 249
— , Simon, ii. 205, 207-8, 252, 255
' ' Gerarde," i. 267
" Gerhart, Master, Illuminator," see Horne-
bolt, Gerard
German Merchants in England, see Steelyard
German Old Testament (Petri), i. 229
Gerster, Hans, town archivist of Basel, i.
109, in
Gesner, Conrad, of Zurich {Partitiones
Theologies, &c), i. 224
Gesta Romanorum, i. 67
Geuchmatt (Thomas Murner), i. 59
Ghent, i. 265, 268, 289, 307; Guild of St.
Luke, i. 263 ; St. Bavon, i. 264
Ghirlandajo, Ridolfo, i. 276
Gibson, Richard, i. 260, 315
Giehlow, Dr. Carl, i. 21
INDEX
411
Gigs, Margaret, i. 293, 296, 301, 303 ; ii. 337,
339-40
Gilpin, ii. 189
Gisze, Georg, Steelyard merchant, ii. 4-8
Glarus, i. 344
Glaser, Dr. Curt, Hans Holbein the Elder,
i. 15, 20; ii. 393
Glass-painting, Holbein's designs for, i. 135—
157
Glass-painting in Switzerland, i. 135-6
" Gleane, The," Southwark, i. 262
Glendon Hall, i. 269
Godefroy brothers, ii. 41-2, 47
Godfrey, R., engraver, ii. 346
Godington Park, Kent, i. 332
Godolphin-Quicke Collection, ii. 220
Godsalve, Sir John, i. 299, 325-7, 337 ;
ii. 65, 255 ; miniature by Bettes, ii. 309
— Thomas, i. 299, 325-6, 337 ; ii. 65, 255
Goelenius, of Louvain, i. 179-80
Goes, van der, see Gow, John van der
Goette, A., ii. 393
Golden Fleece, Exhibition of the, Bruges
(1907), ii. 141 note
Golden Norton, ii. 1 1
Goldschmidt-Przibram, Frau L. (collection),
ii. 57. 349
Goldsmiths' Company, ii. 11, 13
Goltzius, ii. 24
Gonzaga, i. 234 note
Goodrich Court, ii. 182, 235
Gostwick's Accounts, ii. 68
Gow, John van der (Hans of Antwerp), ii.
10, 12-13.
Gower, Lord Ronald Sutherland, i. 309
Graf, Urs, i. 47, 62, 158, 193, 197, 340
Grafton, ii. 176
Graham, William, Collection, i. 54 note
Granger, ii. 68, 194
Great Fire of London, i. 261 ; ii. 24
Great Harry (ship), i. 259, 273
Great Wardrobe Accounts, i. 262
Greek New Testament (Bebelius), i. 225
Greenwich, ii. 184, 240, 294, 297-8 ; Ban-
queting House (1527), i. 274-5, 281, 290,
311-16, 331, 336-7; ii. 64, 91, 310 note,
313 ; King's House, ii. 337 ; Palace, i. 271,
311, 317 ; ii. 208; Park, ii. 32 ; Revels at,
i. 260
Gregorius, sculptor, of Augsburg, i. 9
Gregory XIV, Pope, i. 305-6
Grenchen, Chapel of All Saints, i. 1 10
Grenville, Rt. Hon. George, ii. 237
Gresham, Sir Thomas, i. 287 ; ii. 205, 304
Grey, Henry, Duke of Suffolk, i. 269
— Thomas, i. 253
— of Wilton, William, Lord, portrait by
Flicke, ii. 305
Greystoke Castle, i. 177-9 > ii- 214
Grien, Hans Baldung, i. 31, 56, 88, 147, 168
Griesher, Hans, i. 19, 20
Griff oni, i. 243
Grimm, H., i. 24, 165, 169
Grinder, Mr., ii. 137
Grooth, Nikolaus, i. 75, 92-3
Grosvenor Gallery, Winter Exhibition (1878-
1879), "• 374
Griin, Heinrich, i. 20
— tailor, of Augsburg, i. 20
Gruner, Herr L., ii. 67
Griinewald, Matthias, i. 31, 147-8
Grunstadt, Bavaria, i. 1, 23
Gsell Collection, ii. 57
Guarienti, Pietro, i. 17
Gubbins (Gobions), Hertfordshire, i. 301 ;
». 335-6
Gueiss, Albert von, ii. 5
Gueldres, ii. 178, 344
Guest, Miss, of Inwood, i. 332 ; ii. 351, 355
— Lady, Theodora, i. 332
Guicciardini, Lodovico, i. 265 ; ii. 218, 239
and note
Guild of St. Luke, see Ghent.
Guise, Anthoinette de Bourbon, Duchess of,
ii. 144, 146-50, 153, 343-4
— Anthoinette de, daughter of Duke
Claude, ii. 148-9, 344
— Claude, Duke of, ii. 139, 144-6, 150,
154. 343-4
— Claude, son of Duke Claude, ii. 148, 343
— Francois II, Duke of, ii. 147
— Louise of, ii. 142-6, 148-9, 153 and
note, 154-5, 173, 176, 343-4
— Marie of, Duchess of Longueville, after-
wards Queen of Scotland, ii. 139-44,
I47~9, 153 <™d note, 154-5, 235- 343"4
— Renee of, ii. 144-6, 149, 155, 173, 176
Guises, Castle of the, at Joinville, ii. 147
Guisnes, i. 259, 273
Guldeford, Sir Henry, i. 299, 313, 316-21,
337 ; ii. 1, 2, 65, 250, 254-5
— Lady, 1. 299, 318, 320-1, 337; 11. 65,
87 note, 260
— Sir Richard, i. 319
— Joan, Lady, i. 319
Guldenknopf, Barbara, i. 109
Gwalther, Rudolph, ii. 156 and note
Gysin, see Gisze
Gyssler, Jacob, butcher, of Basel, Holbein's
son-in-law, ii. 301
Haarhaus, J. R., i. 165 note
Haarlem, i. 183
Haas, publisher, of Basel, i. 188
Haberdashers' Company, i. 260
Haddon, Dr. Walter, ii. 226
Hague, The, i. 179, 241 ; ii. 59, 229, 341
— Gallery, i. 106-7, 346-7 ; "• 54> 57. 65,
113, 203, 229, 355
Haig, Mr. J. R., i. 333
Hall's Chronicle, i. 188 note; ii. 79, 294, 309
— Triumphant Reigne of Kynge Henry the
VIII, i. 311-12, 316
Halsey, Miss Ethel, Gaudenzio Ferrari, i.
89 note, 95 note ; ii. 393
Hamburg, ii. 6
412
INDEX
Hamilton, Duke of, i. 172
Hampton Court Palace, i. 95-6, 98, 165-7,
183-4, 258, 267, 270, 274, 281, 283-4,
301, 315-17. 333 5 "• 77, 86, 93-4, 97, 104-
106, 136, 192, 204, 215, 267, 292, 304, 310,
349
Hampton Court Palace Accounts, i. 277
Handzeichnnngen Hans Holbeins des Jun-
geren (Ganz), ii. 323-7
Hanfstaengl, Mr. F., ii. 250
Hanover, Provinzial Museum, i. 184, 351 ;
ii. 15, 164-6, 205, 353-4
Hanseatic League in London, see Steelyard
Hanworth, i. 278
Hardie, Mr. Martin, ii. 219 note
Harding, S., i. 320
Hardwick Hall, ii. 97, 99, 101 note, 141, 205
note, 236, 351
Hardy, Mr. J. P., Collection, ii. 61 note
Haringworth, ii. 259
Harleian MSS., ii. 246
Harman, Dr. (Barber-Surgeons picture), ii.
291
Harris, John, Sir T. More's " famulus," i.
296, 301 ; ii. 336-9
Harrowby, Earl of, Collection, ii. 72 note,
342
Harrowden, i. 319 ; ii. 52, 86
Hartmann, Canon, i. no
Hasse, George, Steelyard merchant, ii. 6
Hastings, Marquis of, ii. 80
— plat of, i. 274
Hatfield Priory, Essex, ii. 267
Hauntlowe, Richard, painter-stainer, i. 261
Hauser, of Munich, i. 238 ; ii. 22 note
Havering, i. 278
Havre, Le, ii. 139-40. I43~4. 146, 148-9, 155,
344
" Haward, a Dutch Juellor," portrait by
Eworthe, ii. 307
Hawkins, Mr. C. Hey wood T., sale (1904),
ii. 228, 239-40
— Mr. J. Heywood (collection), i. 308 note
Hay, Mr., Savile Row, i. 304
Haydock, Richard, i. 302 ; ii. 218, 308
Hayes, Cornells, court jeweller ; ii. y^, 92,
164, 287-8
Hazlitt, W. Carew, ii. 345
Heath, Mr. Dudley, ii. 221-2, 393
— John, see Hethe
Hebdenring, Wilhelm, i. 239
Heere, Lucas d', ii. 307-8
Heerweghe, Jan van, i. 264
Hefner- Alteneck, Herr J. H. von, ii. 100
Hegner, Ulrich, i. 74, -j-j, 81, 84; ii. 156
note, 394
Heitz, P., ii. 394, 398
Hemingham, Sir Anthony, ii. 258
— Lady, ii. 237, 256, 258
" Henegham," see Hemingham
Henri II of France, i. 281 ; ii. 147
Henry II, Emperor, i. 114
— Ill of England, ii. 51
Henry VI of England, i. 205
— VII of England, i. 269, 271-2, 275 ;
"• 55- 94-6, 137, 188, 234-5, 267, 301
— VIII, i. 97, 169, 176, 178, 256-9, 265-6,
268-70, 272-6, 279-80, 282-7, 294. 305-7,
311-12, 314-17. 319. 326-31, 338, 355-6;
ii. 3, 11, 12 note, 36, 45 note, 54, 59, 60, 65,
67-8, 70-3, 76, 79, 86-7, 90-110, 112-15,
117-20, 122-5, I27, 129-36, 138-44, 145-
146, 148-9, 1 5 1-2, 154, 157-9. 164, 169,
171-80, 182, 184-5, 186 note, 187-8, 192,
194, 196-7, 200, 208-9, 211, 2I7-l8, 221,
223, 225, 231-9, 244-7, 263, 266-7, 27i.
274, 276, 278-9, 282, 310, 313, S33, 338
— — his collection and inventory of
pictures, i. 97; ii. 109, 127, 133-4, 137-
149. 170
— — portraits of, i. 266-7 ; ii- 93_I°9
— — his tomb, i. 272, 280-1, 287 note
Henry VIII (Shakespeare), ii. 211
" Henry VIII and his Family " (Hampton
Court), ii. 97
Henry Grace a Dieu (ship), see Great Harry
Henry, Prince of Wales, ii. 24-6
Henshaw, Charles, ii. 334
Hentzner, Paul, ii. 94-5, 170, 267
Heralds, College of, i. 262, 279
Herbert, Sir William, ii. 268
Herbster, Hans, i. 39, 40, 58, 60-1, 340
Hereford (town), i. 353 ; ii. 212
Heresius, see Harris, John
Herlins, Hans, i. 19
Hermitage Gallery, St. Petersburg, i. 61 ;
ii. 62, 245-6
Heron, Cecilia, daughter of Sir Thomas
More, i. 294, 297, 303, 357 ; ii. 250, 334-6
— , Essex, i. 300; ii. 334-5
— Giles, ii. 334, 336
— Margaret, ii. 335
— Sir William, of Heron, Kt., ii. 335
Herrault, Christopher, jeweller of Paris, ii.
288
Hert, illuminator, i. 267
Hertenstein, Benedikt von, i. 70, 72-4, 162 ;
ii. 278
— Caspar von, i. 65
— House decorations, 57-8, 64-72, 122
— Jakob von, 57, 65-7, 69, 70, 74, 79
— Leodegar von, i. 70
— Peter von, Canon of Basel, i. 79
Hertford, Earl of, ii. 200
Hervey, Miss Mary F. S., Holbein's Am-
bassadors, ii. 5, 39-41, 44, 45 note, 46-7,
49, 50, 52, 69 note, 257, 305, 327, 394
Herwart, Margreth, sister of Hans Holbein
the Elder, i. 3 ; ii. 162
Hes, Dr. Willy, i. 25-6, 45, 47, 60, 631
ii- 394
Heseltine, Mr. J. P. (collection), i. 318 note,
324 ; ii. 71 note, 254
Hess, Hieronymus, painter, i, 81, 127-30
Hesse, Grand Duke of, i. 232
Hesse-Darmstadt, Prince Charles of, i. 242
INDEX
4i3
Hethe (or Heath), John, painter-stainer,
i. 261-3
— Lancelot, painter-stainer, i. 263
— Lawrence, painter-stainer, i. 263
Het Schilder Boek (Carel van Mander), see
Van Mander
Hewen, Von, family, i. 145 ; ii. 326
— — Wolfgang von, rector of Freiburg
University, i. 145
Heymans, Mynheer, ii. 187
Higham Park, Northamptonshire, ii. 228
" High Burgony," see Upper Burgundy
Hilliard, Laurence, ii. 234
— Nicholas, i. 302 ; ii. 90-1, 11 2-1 3,
218-19, 234-5. 237, 246, 308-9
Himmel, Zunft zum (Basel Painters' Guild),
i. 58-9, 82-3, 97, 121, 232
Hind, Mr. A. M., i. 230 note, ii. 394
Hirth, publisher, of Munich, i. 214
His-Heusler, Dr. Edouard, i. 50, 80, 190,
338; ii. 157, 299, 394
History of Portrait Miniatures (G. C. William-
son), ii. 220, 230
Hoby, Sir Philip, i. 176; ii. 119-25, 130-1,
140-1, 143-4. 146, 148-51. 153-6,
343-4
— Sir Thomas, ii. 168
— William, of Leominster, ii. 119
Hoefnagel, Joris, engraver, i. 277
Holbein family, i. 1-4
Holbein, Ambrosius, elder son of Hans
Holbein the Elder, i. 4, 5 ; his portrait
by his father in the " St. Paul " altar-
piece and in drawings, 11, 20, 25-7 ; train-
ing in his father's workshop, 29 ; sets out
for Switzerland with his brother, and
settles in Basel, 32 ; his share in the
" Virgin and Child " picture of 15 14, 34-5 ;
his drawings, 34 ; date of his arrival in
Basel, 2)7 5 his share in the " Passion "
series of paintings, 39-42 ; designs for
Basel printers, 44-5 ; his share in the
" Praise of Folly " drawings, 47-8 ; por-
trait of a man at Darmstadt (15 15), 50-1 ;
probable visit to Lucerne, 58 ; citizen of
Basel, and joins Painters' Guild, 58-9 ;
portrait of Schweiger, and probable date
of his death, 59 ; his paintings, and por-
trait of Herbster, 60-1 ; his drawings
and designs, 61 ; portrait at St. Peters-
burg, 61-2 ; woodcut designs, 59, 62-3 ;
his art, 6$, 82, 185, 189, 192, 254 ; ii. 65
Holbein, Ambrosius —
Pictures and Drawings
Portraits of Two Boys (Basel), i. 34, 51,
59, 60, 63
Portrait of a Little Girl (Vienna), i. 60
Portrait of Hans Herbster (Basel), i. 39,
50, 60-1
Portrait of a Young Man, dated 151 5
(Darmstadt), i. 50-1
Portrait of Jorg Schweiger (Basel), i. 59
Portrait of a Young Man (Hermitage), i.
61-2
The Saviour as the " Man of Sorrows "
(Basel), i. 60
Study of Two Death's Heads (Basel), i.
60
Drawing of a Girl, "Anne" (Basel), i. 34,
61 , 63
Drawing, Head of an Unknown Man
(Basel Kunstverein), i. 5 1
Silver-point studies for Portraits of Two
Boys (Vienna and Paris), i. 60
Drawing, Head of a Young Woman (Basel),
i. 61
Drawing, Head of Young Man turned to
left, 1 517 (Basel), i. 61
Drawing, coloured, of a member of the
Von Rudiswiler family (Basel), i. 58,
185
Drawing, Head and Body of a Baby
(British Museum), i. 63
Glass design, " Foundation of Basel "
(Basel), i. 61
Drawings, " Pyramus and Thisbe " and
" Hercules and Antaeus," two roundels
(Karlsruhe), i. 63
Woodcut designs for T. Murner's Geuchmatt,
i. 59
Woodcut designs for More's Utopia, 1. 62,
192
Woodcut designs for title-pages, initial
letters, &c, i. 62-3
Woodcut design for title-page, " Tarquin
and Lucrece," i. 193
Holbein, Anna, sister of Hans Holbein the
Elder, see Elchinger, Anna
— Barbara, sister of Hans Holbein the
Elder, see Oberhausen, Barbara von
— Bruno, mythical brother of Ambrosius
and Hans Holbein, i. 4, 5
— Elsbeth (Schmid), wife of Hans Holbein
the Younger, i. 83-4, 105-9, 222, 245, 248,
252-3. 339. 343-7 5 «• 63, 65, 160-2, 299,
300
— Felicitas, wife of Conrad Volmar, ii. 301
— Hans, supposed grandfather of Hans
Holbein the Younger, i. 3, 4, 7
— Hans, the Elder, i. 2 ; his family, 3, 4 ;
forged signatures on his pictures, 3 ; his
birth and earliest works, 4 ; his art, 5-7,
settles in Ulm, 8 ; visits Frankfurt, 9 ;
work for the Monastery of Kaisheim, 9-1 1 ;
portraits of himself and sons in " Baptism
of St. Paul," 11-12 ; drawings of his sons,
11, 20, 25-7 ; work for the Church of St.
Moritz, Augsburg, 1 3 ; financial troubles,
13; the "St. Sebastian" altar-piece,
14-16, 30; "Fountain of Life," 16-18;
portrait studies of heads in silver-point,
18-21 ; portrait of a Lady, Sir F. Cook's
Collection, 20-2 ; his last years, 22 ;
letter claiming his painting materials left
at Isenheim, i. 22, 254 ; his death, i.
4i4
INDEX
22; 34, 38, 40, 51 ; legend that he lived
in Lucerne with his sons, 58 ; 92, 108, 148,
186, 254
Holbein, Hans, the Elder —
Pictures and Drawings
The Virgin with the Infant Christ in her
Arms (Augsburg), i. 3
Basilica of Santa Maria Maggiore (Augs-
burg), i. 4, 7
Joachim's Sacrifice, Birth of Mary, Pre-
sentation of Mary, and Presentation of
Christ, four altar panels (Augsburg),
i- 7
The Death of Mary, Afra altar-piece
(Basel), i. 7 note
Crowning of the Virgin, Vetter altar-
piece (Augsburg), i. 8, 38
Genealogy of Christ and of the Dominicans,
&c. (Frankfurt), i. 9
Kaisheim Altar-piece (Munich), i. 9, 27
Transfiguration of Christ (Augsburg), i. 10
Basilica of St. Paul (Augsburg), i. 10, 11,
27, 186
Martyrdom of St. Sebastian (Munich), i.
14-17, 30, 33, 104
The Fountain of Life (Lisbon), i. 5, 16-18,
22, 34
Portrait of a Lad}- (Sir F. Cook's Collection),
i. 20-1
Martyrdom of St. Catherine, Legend of
St. Ulrich, The Virgin and St. Anne
Teaching the Infant Christ to Walk, &c,
altar panels (Augsburg), i. 23-5, 30
The Death of Mary (Basel), i. 26-7
Passion Series (Donaueschingen), i. 38, 40
Drawing, Study of his Own Head (Chan-
tilly), i. 1 1
Drawing of a Lady's Head, perhaps his
wife (Munich), i. 12
Studies for St. Sebastian (Copenhagen),
i. 16
Studies for Sir F. Cook's portrait of a
Lady (British Museum and Berlin), i.
21-2
Portrait Studies of his Sons, i. 11, 20, 25,
27, 186
Portrait Studies in silver-point, i. 18-21
Study for the "Death of Mary" (Basel),
i. 26
Holbein, Hans, the Younger, his portrait by
his father in the " St. Paul's" altar-piece
(1504), i. 1 1 ; and in his father's drawings,
1 1 , 25-27 ; personal appearance, 1 1 ; works
of his father wrongly ascribed to him,
14-15; his supposed share in the "St
Sebastian" altar-piece, 15, 16, 30; place
and date of his birth, 23-9 ; miniatures
of himself, 28 ; house where born, 29 ;
training in his father's workshop, 29-30 ;
influence of Burgkmair, 30, of the Italian
Renaissance, 30-1, and of Grien and
Griinewald, &c, 31 ; sets out with his
brother Ambrosius for Switzerland, 32 ;
date of arrival in Basel, 37 ; early works
in Basel, 32-45 ; possibility that he
worked for a time in Hebster's studio, 39 ;
work for printers and " Praise of Folly "
drawings, 44-9 ; legends as to his char-
acter, 49-50 ; double portrait of Jakob
Meyer and his wife, 52-55 ; his methods
of work at that time, 53 ; work in Lucerne
and decoration of the Hertenstein House,
57-72 ; his visit to Lombardy and its in-
fluence on his art, 74-8 ; other work in
Lucerne, 78-81 ; returns to Basel, enters
Painters' Guild, and becomes a burgher,
82-3 ; his marriage, 83-4 ; portrait of
Bonifacius Amerbach, 84-7 ; sacred pic-
tures and drawings of this period, 88-101 ;
Italian influences in his work, and growing
mastery of technique, &c, 86, 94-5, 98 ;
Dead Christ in the Tomb, 101-3 ; Solo-
thurn Madonna, 103-11 ; portraits of his
wife, 106-9 5 wall-paintings for the House
of the Dance, and other buildings, 117-
123 ; his wall-paintings in the Council
Chamber of the Basel Town Hall, 123-34 ;
work as a designer for glass-painters, 1 35—
157 ; costume studies and other drawings,
157-61 ; his various portraits of Erasmus,
164-74 ; his journey though the South
of France, 174-6; portraits of Froben,
166-8, 183-4, of Melanchthon, 184-5, an(i
of himself, 185-6; designs for woodcuts
and book illustrations, 187-203 ; the
Dance of Death woodcuts, 204-24 ; the
happy partnership of Holbein and Liitzel-
burger in these cuts, 223-5 5 Alphabet of
Death and Old Testament woodcuts, 224-
230 ; the Meyer Madonna, 232-52 ; re-
solves to visit England, 252-3 ; attempts
to get his father's painting materials from
Isenheim, 254 ; Erasmus' letter of intro-
duction to iEgidius, 255 ; leaves Basel for
England, 288 ; his relationships with Sir
Thomas More, 290-1 ; painting of the
More Family Group, 291-302; other por-
traits of More and his family, 303-10 ; his
work in connection with the temporary
Banqueting House at Greenwich (1527),
31 1-16 ; portraits of Sir Henry Guldeford,
Warham, Fisher, Thomas and John
Godsalve, Kratzer, and others, 317-
337; returns to Basel and purchases two
houses, 338-9 ; portrait of his wife and
two children, 343-6 ; finishes his wall-
paintings in the Basel Town Hall, 347-
350 ; paints a new portrait of Erasmus,
351; lack of work caused by severe icono-
clastic outbreaks sends him back to Eng-
land, 352
ii. Second residence in London, and
connection with the German merchants
of the Steelyard, 1-32 ; portraits of
Gisze, Hans of Antwerp, Wedigh, Born,
INDEX
4i5
Tybis, Fallen, Berck, &c, 4-23 ; his deco-
rative paintings of the Triumphs of Riches
and Poverty, 23-30 ; triumphal arch de-
signed for Anne Boleyn's Coronation, 30-2 ;
painting of " The Two Ambassadors,"
34-53 ; portraits of Cheseman, Thomas
Cromwell, Morette, Poyntz, Nicolas Bour-
bon, 54-75 ; woodcuts of the English
period, 76-9 ; portraits of members of the
Wyat family, Sir Richard Southwell, and
others, 79-89 ; enters the service of
Henry VIII, 90-2 ; the Whitehall fresco
of Henry VII and Henry VIII, &c, 93-
100, and other portraits of the King and
of Jane Seymour, 100-13 ; goes to Brussels
to paint the Duchess of Milan (1538), 119-
137; goes to Havre in June and to Join-
ville and Nancy in August (1538), to take
likenesses of ladies of the Guise and Lor-
raine families, 139-55, 343-4; revisits
Basel, and is entertained at a banquet, 156;
offer of a pension from Basel Town
Council, 158-61 ; death and will of his
uncle Sigmund, 16 1-2 ; returns to Eng-
land, 162-4 ; portraits of the infant
Prince of Wales, 164-8 ; goes to Diiren
(:539) to paint Anne of Cleves, 175-82 ;
his work in Whitehall Palace, 185-7 ;
residing in parish of St. Andrew Under-
shaft, 188-9; payments in advance of
his salary, 190-1 ; possibility of a visit to
Basel in 1540, 191-2; portraits of Queen
Catherine Howard, the Duke of Norfolk,
the Earl of Surrey, the Earl of Southampton,
Dr. John Chamber, Sir William and Lady
Butts, and others of unknown men and
ladies, 192-212 ; various miniatures and
portraits of himself, 213 ; his work as a
miniature painter, 217-42 ; his drawings
of the heads of the men and women of
Henry's court, now in the Royal Library,
Windsor, 243-59 ; similar drawings in
Berlin, Basel, &c, 259-61 ; comparison be-
tween his portrait-drawings and those of
the two Clouets, 261-2 ; his work as a
practical designer for craftsmen and
jewellers, and architectural designs, 265-
86 ; his connection with various London
goldsmiths, 287-8 ; his last large picture,
for the Barber-Surgeons' Company, left
unfinished, 289-94 ; his death and will,
and executors, 294-8 ; earlier mistakes as
to the date of his death, 298-9 ; his wife,
children, and descendants, 299-301 ; some
of his contemporaries and successors at
the English Court, 302-1 1 ; destruction or
loss of all his larger decorative works, 312-
314; fertility of his invention and power
of dramatic composition, 314-15 ; in-
fluence of the Italian Renaissance on his
art, 315-16; the brilliance of his draughts-
manship, 316-18 ; comparison of his art
with Diirer's, 318-20 ; Lord Leighton and
Ruskin upon his art, 319-21 ; his early
drawings and glass designs, 323-7 ; his
connection with Dr. Johann Fabri, 330-2 ;
his return to England in 1532, 340-1 ; his
studio in Whitehall, 344-6
Holbein, Hans, the Younger — Pictures,
Drawings, Woodcuts, &c. —
Pictures
Virgin and Child, 15 14 (Basel), i. 32-5, 37 i
ii. 332, 356
Christ bearing the Cross, 151 5 (Karlsruhe),
i. 38, 43, 101; ii. 354
Crowning with Thorns, 151 5 (Karlsruhe),
i- 39 5 »• 354
Painted Table (Zurich), i. 35-7, 53, 77 ; ii.
358
Heads of the Virgin Mary and St. John
(Basel), i. 37-8, 56 ; ii. 356
Scenes from Christ's Passion, on canvas
(Basel), i. 39-42, 68, 93, 99. 104, 156;
ii- 356
1. The Last Supper, i. 39, 40, 42, 76 ; ii.
356
2. Christ on the Mount of Olives, i. 40,
42; ii. 356
3. The Arrest in the Garden, i. 40, 42,
87; ii. 356
4. The Scourging of Christ, i. 39, 40-2,
5<5 ; ii- 356
5. Pilate Washing his Hands, i. 41-2 ;
ii. 356
Schoolmaster's Signboard, 15 16 (Basel),
i. 48 note, 51-2; ii. 356
Adam and Eve, 15 17 (Basel), i. 38, 55-6,
112 ; ii. 93 ; ii. 356
Passion of Christ Altar-piece (Basel), i.
43-4. ^7, 91-6, 150, 350 ; ii. 312, 316, 357
The Last Supper (Basel), i. 75-6. 88, 91
note, 340; ii. 357
Coat of Arms for the Painters' Guild
Chamber, Basel, i. 83
Christ as the Man of Sorrows, i. 98-9 ; ii.
357
Mary as Mater Dolorosa, i. 98-9 ; ii. 357
The Nativity (Freiburg), i. 87-91,98; ii.
354
The Adoration of the Kings (Freiburg), i.
87-91. 98; ii. 354
Dead Christ in the Tomb, 15 21 (Basel), i.
77, 160; ii. 356
St. George, 1522 (Karlsruhe), i. 11 1-1 3, 160;
"• 354
St. Ursula, 1522 (Karlsruhe), i. 111-13,
249; ii. 354
Solothurn Madonna, 1522 (Solothurn), i.
84, 103-13, 149, 160, 235, 245, 249,
345-6 ; ii. 316, 324, 358
Meyer Madonna (Darmstadt), i. 33, io3>
149, 232-46, 249-50, 293 note, 243 ; ii.
260, 312, 316, 328, 330, 341, 354
Meyer Madonna (Dresden), i. 236-9, 241-
244; ii. 328-9, 354
4-i6
INDEX
Holbein, Hans, the Younger — continued.
Magdalena Offenburg as Lais, 1526, i. 75,
158, 162, 245-52, 289 ; ii. 357
Magdalena Offenburg as Venus, 1526, i.
75, 158, 162, 245-52, 289; ii. 357
** Noli Me Tangere " (Hampton Court), i.
76, 95-8 ; ii. 77, 349
Organ Doors, Basel Minster (Basel), i. 87,
1 1 3-1 5, 154, 249, 340, ii. 357
"Triumph of Riches," i. 159; ii. 23-30,
262-3, 313-14
"Triumph of Poverty," ii. 23-6, 28-30,
262,313
Various copies and engravings of the
Triumphs of Riches and Poverty, by
Zuccaro, Vorsterman, Bisschop, Merian,
&c, ii. 26-7
Coats of arms painted for the borough of
Waldenburg, i. 233
Lost Pictures and Pictures A ttributed to
Holbein
Head of Christ (Altorf), attributed to
Holbein, i. 77
Crucifixion (Altorf), attributed to Holbein,
i. 77
Christ in the Tomb (Altorf), copy of the
1 521 painting, i. 77-8
Five pictures mentioned by Patin as in
Lucerne churches in his day, i. 80-1
Taking Down from the Cross (Palermo),
copy of lost original, i. 81
Christ on the Cross between Mary and
John (Basel), copy of lost original,
i. 87
Christ taken Prisoner (engraving only),
copy of lost original, i. 87
Lamentations over Christ, &c. (etching),
copy of lost original, i. 87-8
St. Barbara (etching), copy of lost original,
i. 88
Series of Prophets, on canvas (Basel), by
Sarburgh after lost originals, i. 88 ; ii.
.328, 330
Siege of Terouenne, painting for the
Greenwich Banqueting Hall, 1527, i.
315-16; ii. 64, 313
Painting of " Adam and Eve," for a royal
cradle (1534), ii. 92-3
Death of Virginia (Dresden), copy of a
lost picture, ii. 263-4
Death's Head and Cross Bones (Arundel
Collection, 1655), ii. 65
A Picture with "divers figure Jocatori, &c."
(Arundel Collection, 1655), ii. 65
Arms of England in water-colours (Arundel
Collection, 1655), ii. 65
" Legge Vecchio & Nove " (Arundel Col-
lection, 1655), ii. 65
Jupiter and Io, water-colour (Buckingham
Inventory, 1635), ii. 215
W all-Paintings
Hertenstein House wall-paintings, i. 57,
64-72, 117, 127, 142
Tarquin and Lucrece, original fragment
of above (Lucerne), i. 68 ; ii. 358
House of the Dance wall-paintings, i.
117-21, 127, 200 ; ii. 157, 315
Basel Town Hall wall-paintings, i. 123-
134, 142, 232, 252, 343, 347-52; Ii.
157. 357
Charondas, i. 127-8
Curius Dentatus, i. 127-8, 130-1
Zaleucus, i. 127-30 ; ii. 284
Sapor and Valerian, i. 128-9, 13 1-2
Rehoboam rebuking the Elders, i.
126-8, 347-9 ; "• 263, 314
Samuel and Saul, i. 126-8, 347, 349 ;
ii. 314
Hezekiah breaking the Idols, i. 128,
347
Single figures of Christ, David, &c,
i. 128, 132-3
Original fragments of " Curius Den-
tatus," i. 127, 130; ii. 357
Original fragments of " Rehoboam,"
i. 127, 347-9 5 ii- 357
Copies of some of the remains by H.
Hess, i. 127-9
Whitehall fresco — Henry VII and Eliza-
beth of York, Henry VIII and Jane
Seymour, i. 286 ; ii. 91, 93-7, 100, 103,
105, 109, 113, 185, 187-8, 271, 313
Portraits {arranged alphabetically)
Amerbach, Bonifacius, 15 19 (Basel), i.
74, 84-7, 90, 122, 162, 170 ; ii. 256, 356
Amelie of Cleves (lost portrait), ii. 174-6
Anne of Cleves, 1539 (Louvre), ii. 65, 115,
171, 174-6, 181-2, 236-7, 255, 311,
353 ; other portraits, ii. 183-4
Antwerp, Hans von, 1532 (Windsor), ii.
8-14, 16, 215, 350
Antwerp, Hans of, roundel (Salting Collec-
tion), ii. 14-15, 350
Antwerp, Hans of (?), roundel (Lord
Spencer), after Holbein (?), ii. 14-15, 352
Berck, Derich, 1536 (Petworth), ii. 22-3,
83, 351 ; copy at Munich, ii. 23, 355
Born, Derich, 1533 (Windsor), ii. 17-20,
65. 35o
Born, Derich (Munich), ii. 20, 355
Bourbon, Nicolas (lost portrait), ii. 72-3
Butts, Sir William (Mrs. Gardner, Boston),
ii. 205, 209-10, 289, 347
Butts, Lady (Mrs. Gardner, Boston), i.
354; ii. 83, 205, 209-10, 347
Carew, Sir Nicholas (Dalkeith), i. 337 ; ii.
65. 87-9. 134. 255, 351
Chamber, Dr. John (Vienna), ii. 65, 112,
208-9, 255, 289, 349 ; copy at Oxford, ii.
209
s
INDEX
4i7
Holbein, Hans, the Younger — continued.
Cheseman, Robert, 1533 (Hague), ii. 46,
54-7, 203, 206, 255, 355
Cromwell, Thomas, 1534 (?) (Tyttenhanger
Park), i. 328 ; ii. 58-60, 65, 88, 255, 311,
351; other versions of Cromwell portrait,
ii. 60-1
Denny, Sir Anthony (lost portrait ?), ii.
214
Dinteville, Jean de, and George de Selve,
1533 (The Ambassadors), (National
Gallery), i. 327, 330; ii. 5, 17 note, 19,
35-53.64. 158, 255, 339, 349
Edward VI (Hanover), ii. 12 note, 65,
164-5, I7L 205, 288, 354
Edward VI (Lord Yarborough), ii. 165,
353 ; other versions, after Holbein, and
by Stretes and others, ii. 166-70, 352
Erasmus, 1523 (Longford Castle), i. 164,
167-72, 177, 179, 180-2, 219, 253, 322-3 ;
ii. 256, 352
— 1523 (Louvre), i. 168-9, l72~3> 181-2 ;
ii- 353
— 1523 (Basel), study for Louvre portrait,
i. 172-4; ii. 357
— 1530 (Parma), 1. 177, 179-80, 351 ; ii.
355
— roundel (Basel), i. 171 note, 177, 179-
180, 184, 351
— (Pierpont Morgan Collection), i. 171
note, 177-80; ii. 347
— various copies of above, i. 167-8, 171,
1 80-1; ii. 328-9
— and Froben, double portrait, i. 166,
182 ; ii. 329
— (Arundel Collection, 1655), ii. 25, 65
— (Lumley Inventory, 1590), ii. 134
Fallen, Cyrfacus, 1533 (Brunswick), i. 73 ;
ii. 17, 22, 353
Fisher, John, Bishop of Rochester (lost
portrait), i. 299, 323-5, 337
Fitzwilliam, William, Earl of South-
ampton (Cambridge), after Holbein, ii.
43, 65, 204, 304
Froben, Johann (Hampton Court and
Basel), i. 162, 166-7, 172, 183-4; ii. 256,
349. 357
Gage, Sir Edward (Arundel Collection,
1655), ii. 65
George, Simon (Frankfurt), ii. 205, 207, 354
Gisze, Georg, 1532 (Berlin), i. 54; ii. 4-8,
10 and note, 14, 18, 43, 129, 353
Godsalve, Thomas and John, 1528 (Dres-
den), i. 299, 317, 325-6, 337 ; ii. 65,
255. 354
Guise, Louise of, 1538 (lost portrait), ii.
144, 146-9, 154
Guldeford, Sir Henrv, 1527 (Windsor), i.
299, 317-20, 337 ; 'ii. 65, 134, 311, 350
Guldeford, Lady, 1527 (W. C. Vanderbilt,
New York), i. 299, 318-20, 337 ; ii. 65,
134, 311, 348
Henry VIII (Althorp), ii. 93, 107-9, 234,352
VOL. II.
Henry VIII (Rome), ii. 93 note, 101-3*
171 note, 356
Henry VIII presenting a Charter to the
Barber-Surgeons' Company (Barber-
Surgeons' Hall), ii. 208-9, 289-94, 346.
35o
Henry VIII, various portraits after Hol-
bein or by his contemporaries, at War-
wick Castle, ii. 100-2, 104, 217, 290 ;
Windsor Castle, ii. 103-4, 236 ; St.
Bartholomew's Hospital, ii. 101, 103,
234 ; and at Belvoir, Petworth, Chats-
worth, and elsewhere, ii. 100-7, io9>
169, 234, 236
Henneage, Sir Thomas (Lumley Inventory,
1590), ii. 134
Hertenstein, Benedikt von, 1517 (New
York), i. 72-4, 86, 162 ; ii. 278, 347
Holbein, Elsbeth, early portrait (The
Hague), i. 106-8, 345 ; ii. 57, 65, 355
Holbein's Wife and Children, 1528-9
(Basel), i. 106-7, 185, 250, 343-7 ; ii.
164, 189, 255, 357 ; other versions, i.
344-5
Holbein, Hans (Uffizi), ii. 213, 231, 355
(Geigy Collection, Basel), ii. 213,
358
Howard, Queen Catherine (Dunn Collection,
Canada), i. 354 ; ii. 192, 195-6, 207,
283, 348 ; copy in National Portrait
Gallery, ii. 194-6
Kratzer, Niklaus, 1528 (Louvre), i. 299,
317, 325, 327-8, 337, 350; ii. 4. 88,
241, 255, 353
Le Strange, Sir Thomas (Mr. H. Le
Strange), ii. 85-6, 352
Lorraine, Anne of, 1538 (lost portrait), ii.
144, 146-9, 154
Lovell, Sir Thomas (Lumley Inventory,
1590), ii. 135
Melanchthon, Philip, roundel (Hanover),
i. 184-5, 351 ; ii. 354
Meyer, Jakob, and his Wife, 15 16 (Basel),
i- 52-5, 73-4. 86, 162 ; ii. 328, 356
Milan, Christina, Duchess of, 1538
(National Gallery), ii. 25, 43, 51, 65, 88,
115, 125-30, 133-7, 142, 1 50-L 155.
I7I- 255> 349 > copy of the upper half
(Windsor), ii. 125-7
More Family Group, i. 293, 328, 337, 357;
ii. 1, 43, 65, 244, 260, 289, 313, 334-40
— — — (Nostell Priory), i. 295-300,
308 ; ii. 334-40
— — — (East Hendred), i. 300; ii.
335-6, 340, 352
— — — (Thorndon), i. 300 ; ii. 334-6
— — — (Burford), i. 301-2 ; ii. 45
note, 335-6, 351
— — — miniature after the Burford
picture, by R. Lockey (?) (Sotheby Col-
lection), i. 302
— Sir Thomas and his Father (Hutton
Hall), i. 300
2 D
4i8
INDEX
Holbein, Hans, the Younger — continued.
More, Sir Thomas, 1527 (Frick Collection),
i. 293, 299, 303-7, 316-7 ; ii. 221, 289,
340, 348
— Sir Thomas (Lumley Inventory, 1 590),
ii. 134
— Sir Thomas (Arundel Collection, 1655),
ii. 25, 65
— Lady (Methuen Collection), i. 299, 303,
307-8 ; ii. 289
Morette, Charles de Soliers, Sieur de
(Dresden), i. 306 ; ii. 17 note, 38, 49 note,
63-70, 255, 341, 354
Musician, Portrait of a, called Dinteville
(Bulstrode Park), ii. 52-3, 65, 87 note,
352
Norfolk, Duke of (Windsor), i. 330 ; ii.
65, 171, 197-9, 255, 350; other versions,
ii. 197-9
Poyntz, Sir Nicholas (various versions),
ii 63, 72, 342-3
Reskimer (Hampton Court), i. 299, 320,
333-4 ; ii- 349
Rich, Sir Richard, attributed to Holbein
(Knepp Castle, destroyed by fire), ii.
3ii
Rich, Lady (America), ii. 212, 348
Roper, Margaret (Knole), after Holbein,
i. 303, 307-9, 337 ; ii. 352
Russell, Sir John, attrib. to Holbein
(Woburn Abbey), ii. 351
Seymour, Queen Jane (Vienna), i. 54 ;
ii. 65, 109, 111-13,181, 237, 280, 349;
other versions, ii. 11 2-1 3, 169, 351-2, 355
Southwell, Sir Richard, 1536 (Florence),
i. 330 ; ii. 23, 83-5, 355 : other versions,
ii/83, 85, 353
Surrey, Earl of (lost portrait), ii. 65, 171,
198, 200, 303-4
Tuke, Sir Bryan (Miss Guest and Munich),
i- 299, 331-2, 337; ii. 351, 355 ; other
versions, i. 332-3
Tybis, Derich, 1533 (Vienna), ii. 7, 10, 17,
20-1, 348
Vaux, Lord (lost portrait), ii. 87 and note
— Lady (Hampton Court and Prague),
ii. 86-7, 348, 349
Warham, Archbishop (Louvre and Lam-
beth), i. 299, 317, 321-3, 328, 337 ; ii.
65. 350,353
— — (Viscount Dillon), i. 323
Wedigh of Cologne, 1532 (Schonborn Col-
lection), ii. 15-16, 349
Wedigh, Hermann H., 1533 (Berlin), ii.
16-17, T7 note, 18, 22, 49 note, 353
Wyat, Sir Henry (Louvre), i. 304, 306,
335-7 > "• 353; other versions (Dublin
and Countess of Romney), i. 335 ; ii. 350
— Sir Thomas (various portraits), ii.
65, 79-8i, 134, 255
— Margaret, Lady Lee (Altman Collec-
tion, New York), ii. 82-3, 348
Zurich, Hans von (lost portrait), ii. 15, 65
Unknown Young Woman, about 1528
(Basel), unfinished, i. 346-7 ; ii. 357
— Young Man, 1533, roundel (Gold-
schmidt-Przibram), ii. 57, 349
— Man in Henry VIII's livery, 1534,
roundel (Vienna), ii. 62, 70-1, 348
— Lady, wife of above, 1534, roundel
(Vienna), ii. 62, 70-1, 348
— Young Man in Henry VIII's livery,
roundel (F. Engel-Gros), ii. 71, 353
— — copy of above in Fitzwilliam
Museum, Cambridge, ii. 71
— — aged 28, 1 541 (Vienna), ii. 202-3,
206, 255, 349
— — aged ^7, 1 541 (Berlin) ii 201-2,
353
— Man with Falcon, 1542 (Hague), ii.
54, 57. 203, 205, 255, 355
— ■ Lady (Vienna), ii. 205, 207, 349
— Middle-aged Man (Berlin), ii. 205-6,
255, 353
— Man (Basel), ii. 211, 255, 357
— English Lady (Lanckoronski Collec-
tion, Vienna), ii. 21 1-2, 349
— English Ladv (Mr. A. H. Buttery), i.
353-8; ii. 351 "
— Elderly Man (Prado), formerly attri-
buted to Holbein, i. 334-5 ; ii. 356
Portrait of a Lady, " con gli mani giunti "
(Arundel Collection, 1655), ii. 65
Portrait of a Lady aged forty, with motto
" In all things," &c. (Arundel Collection,
1655), ii. 65
Portraits of various unknown men, ladies,
and boys, only known from Hollar's
etchings after Holbein, ii. 214-5
Miniatures (by or attributed to Holbein)
Abergavenny, Lord (Duke of Buccleuch),
ii. 62, 222, 351
Anne of Cleves (Salting Bequest), ii. 18 1-2,
232, 236, 350
Audley, Lady (Windsor), ii. 220, 222-3, 350
Brandon, Charles, Duke of Suffolk (Morgan
Collection), not by Holbein, ii. 241
— Charles, son of the Duke (Windsor),
ii. 201, 220, 222-5, 227, 350
— Henry, son of the Duke (Windsor),
ii. 63, 220, 222-5, 227, 350
Cromwell, Thomas (Morgan Collection),
ii. 61, 231-2, 348
Edward VI, various miniatures, ii. 238
Franz, Arnold (Morgan Collection), ii.
219, 240-1
Henry VIII (Morgan Collection), ii. 182,
235-6, 348
— — (Duke of Buccleuch), ii. 109, 234 ;
other miniatures of Henry VIII not by
Holbein, ii. 234-5, 351
Holbein, Hans (Wallace Collection), ii. 230,
350
INDEX
419
Holbein, Hans, the Younger — continued.
Holbein, Hans (Duke of Buccleuch), ii.
230-1, 351
— — other versions, ii. 215, 230-1
Howard, Queen Catherine (Windsor), ii.
192-3, 220, 222, 238, 350
— — — (Duke of Buccleuch), ii.
193-4, 220, 222
Kratzer, Niklaus (Morgan Collection), i.
241. 328
Mielich, Hans, or Maynert, Harry (?)
(Munich), ii. 241-2, 355
More, Sir Thomas (Morgan Collection), i.
306-8 ; ii. 220-2, 348
• — — ■ — (Duke of Buccleuch), ii. 221-
222, 351
Pemberton, Mrs. Robert (Morgan Collec-
tion), ii. 228-9, 348
'Seymour, Queen Jane, various miniatures,
ii. 237-8, 351
Unknown Youth (Queen of Holland), ii.
220, 229-30, 35s
— Man in Black (Queen of Holland),
ii. 230
Drawings and Designs
Calvary, early drawing (Augsburg), ii. 323
Bearing the Cross (Basel), i. 42-4
" Praise of Folly " marginal drawings
(Basel), i. 45-5°. 63. 85, 229
Study for "Leasna and her Judges," for
Hertenstein House (Basel), i. 68
Architectural design, Hertenstein House
(Basel), i. 65-6, 69, 122
Dagger sheath with a Roman Triumph
(Basel), i. 73
The Archangel St. Michael (Basel), i. 79,
80, 112, 248
Miners at Work (British Museum), i. 80
The Holy Family (Basel), i. 99, 100
Virgin and Child (Basel), i. 99, 100
Virgin and Child (Leipzig), i. 100
Virgin and Child (Brunswick), 1520, ii. 326
Design for Basel organ case (Basel), i.
113-15
Study for Dancing Peasants, House of the
Dance (Berlin), i. 1 19-21
Various tracings and copies of studies for
same house (Basel), i. 120-1
Design for a painted house-front with
figure of Emperor (Basel), i. 12 1-2
Design for a painted framework of a
window (Basel), i. 122
Design for " Sapor and Valerian," Basel
Council Chamber (Basel), i. 13 1-2 ; ii. 264
Contemporary copies of the designs for
the Council Chamber paintings (Basel),
i. 132-3
-Studies of Ladies' Costumes (Basel), i. 138,
157-9. 245, 248
Coat of arms for Petrus Fabrinus (Basel
University), i. 145-6; ii. 357
Costume Study (Dessau), i. 159
Costume study of a Lady, full length
(British Museum), i. 356-7
St. Adrian (Louvre), i. 159-60
Study of a Nude Woman (Basel), i. 160
Fight of Landsknechte (Basel), i. 160-1,
230; (Albertina), i. 161 note
Lamb, Lamb's Head, and Bat (Basel), i.
161
Duke of Berry, copy of a sepulchral figure
(Basel), i. 175-6
Duchess of Berry, copy of a sepulchral
figure (Basel), i. 175-6
Designs for painted glass —
Virgin and Child, with Lucerne Bridge
(Basel), i. 78-9
Three Peasants with Holdermeier arms
(Basel), i. 79
Design for Hans Fleckenstein (Bruns-
wick), i. 79; ii. 323-4
Design with arms of Lachner family
(Stockholm), ii. 325-6
The Banner-Bearer of the Urseren
Valley (Berlin), ii. 324-5
Martyrdom of St. Richardis (Basel), ii.
326-7
Design with figure of a Bishop (Basel),
i. 77
St. Barbara (Basel), i. 88
Eight panels of Saints (Basel), i. 137-9,
248
The Prodigal Son (Basel), i. 139-41
Two Unicorns (Basel), i. 140-1
Various designs with figures of Lands-
knechte (Basel, Berlin, Berne, &c), i.
140-4
Scroll-work with helmets and coat of
arms of Von Hewen family (Basel), i.
144-5 ; "• 326
Design with coat of arms of Von Andlau
family, i. 145 ; ii. 326
Terminus, for Erasmus (Basel), i. 146
Wild Man of the Woods (British
Museum), i. 146-7
Christ on the Cross between the Virgin
and St. John (Basel), i. 147-8
The Annunciation (Paris), i. 147-8
St. Elizabeth (Basel), i. 148-9 ; ii. 325
Virgin and Child with kneeling donor
(Basel), i. 149-50, 249
Ten designs illustrating the Passion of
Christ (Basel), i. 43-4, 115, 136,
150-7; ii. 327; replicas in British
Museum, i. 156-7 ; ii. 327
Rehoboam rebuking the Elders, study for
Basel Council Chamber wall-painting
(Basel), i. 347-8
Meeting of Samuel and Saul, study for
Basel Council Chamber wall-painting
(Basel), i. 347, 349-50 ; "• 264
Design for Dagger Sheath, dated 1529
(Basel), i. 350
420
INDEX
Holbein, Hans, the Younger — continued.
Design for a Cup for Hans of Antwerp
(Basel), ii. n, 275, 286
Triumph of Riches (Louvre), ii. 26-9, 264
Apollo and the Muses on Mount Parnassus,
«• 3i-3
Satiral drawings of the " Passion " for
woodcuts, ii. 77, 342
Queen of Sheba and King Solomon
(Windsor), ii. 262-4, 350
A Transport Ship (Frankfurt), i. 161 note;
ii. 264
Design for a royal fireplace (British
Museum), ii. 269-70
Queen Jane Seymour's Cup (Oxford and
British Museum), ii. 113, 274-5, 2&6
Sir Anthony Denny's Clock (British
Museum), ii. 276, 286
Designs for cups, tankards, sword and
dagger hilts, jewellery, hat-badges, &c.
(British Museum, Basel, Chatsworth, &c. )
i. 73, 161, 350 ; ii. 195-6, 275-86
Drawings : Portrait Studies (arranged
alphabetically)
(Except where indicated, the drawings are
all in the Windsor Castle Collection. )
Abergavenny, Marquis of (Wilton House),
ii. 62, 222, 248, 255
Audley, Lady, ii. 255, 258
Boleyn, Queen Anne, so-called, ii. 1 10
Boleyn, Thomas, Earl of Wiltshire, ii. 256
Borough, Lady, ii. 256
Bourbon, Nicolas, ii. 63, 73-4
Butts, Lady, ii. 210, 255
Carew, Sir George, ii. 256
— Sir Nicholas (Basel), ii. 87-8, 248,
256, 260
Clement, Margaret, i. 303
Cleves, Anne of, so-called, ii. 183
Clinton, Edward, Lord, ii. 256
Cobham, George Brooke, Lord, ii. 256-7
Cresacre, Anne, i. 303
Dancy, Elizabeth, i. 296, 303
Dorset, Marchioness of, ii. 256, 258
Edward VI. , three drawings, ii. 166-8, 205,
255
— — with meerkat (Basel), ii. 167-8
— — roundel in Basel Sketch Book,
ii. 168, 238
Elyot, Sir Thomas, i. 336
Elyot, Lady, i. 336 ; ii. 258
Erasmus, study of hands for 1523 portraits
(Louvre), i. 171
Fisher, John, Bishop of Rochester, i. 324 ;
other versions in British Museum, &c,
i. 324 ; ii. 254
Fitzwilliam, William, Earl of South-
ampton, ii. 204-5
George, Simon, ii. 207-8, 252, 255
Godsalve, Sir John, i. 325-6 ; ii. 125, 251,
255
Guldeford, Sir Henry, i. 318-19, 321 ; ii.
250-2, 255 ; version formerly in Hesel-
tine Collection, i. 318 note ; ii. 254
— Lady (see below, Unknown Lady)
Hemingham, Lady, i. 310 net:; ii. 237,
256, 258
Henry VII and Henry VIII, &c, study
for Whitehall wall-painting (Chats-
worth), ii. 93, Q5, 97-9, 101 note, 105,
107, 134, 236, 351
Henry VIII (Munich), ii. 93, 99-101, 104-5,
107-8, 236, 248
Heron, Cecilia, i. 303 ; ii. 250
Hoby, Sir Philip, ii. 119
Holbein, Hans (Basel), i. 185-6
Holbein's Wife as a Girl (?) (Louvre), i.
108, 112, 144
Howard, Queen Catherine, ii. 194, 254-5
Le Strange, Sir Thomas, ii. 86, 256
Lister, Lady, ii. 258
" Mary, Lady, after Queen," ii. no, 215,
258
Melanchthon, Philip, ii. 200, 250
Mewtas, Lady, ii. 140, 256-7
Meyer, Jakob, and Wife, study for double
portrait of 15 16 (Basel), i. 22, 55 ; ii.
256, 328
Meyer, Jakob, Wife, and Daughter,
studies for the Meyer Madonna (Basel),
i. 236-7 ; ii. 256, 260
Monteagle, Lady, ii. 256
More Family Group, study for (Basel), i.
291-6, 298-301, 303, 305, 308-10, 338,
341-2; ii. 255, 331, 335-9
More, John, i. 303
More, Sir John, i. 303
More, Sir Thomas, i. 303 ; ii. 250-1, 255
Morette, Charles de Sobers, Sieur de
(Dresden), ii. 66-7, 69, 248, 256
Parker, Lady, ii. 256, 258
Parr, William, Marquis of Northampton,
ii. 256
Parry, Sir Thomas, ii. 256
Poyntz, Sir Nicholas, ii. 71-2
Poyntz, John, ii. 71 ; another version
formerly in Heseltine Collection, ii.
71 note, 254
Ratcliffe, Lady, ii. 256
Reskimer, i. 333-4 ; ii. 255
Rich, Sir Richard, ii. 212, 256
Rich, Lady, ii. 212, 256, 258
Richmond, Mary, Duchess of, ii. no-n,
257
Roper, Margaret (?) (Salting Bequest), i.
309 ; ii. 248, 252
Russell, Sir John, ii. 256
Seymour, Queen Jane, ii. 112, 251, 255
Sherrington, Sir William, ii, 256
Southwell, Sir Richard, ii. 85, 255
Stanley, Edward, Earl of Derby, ii. 256
Suffolk, Catherine, Duchess of, ii. [226 ;
replica in British Museum, ii. 226,.
254
INDEX
421
Holbein, Hans, the Younger — continued.
Surrey, Henry Howard, Earl of — three
drawings, ii. 200-1
Surrey, Lady, ii. 201
Tuke, Sir Bryan, ii. 255
Vaux, Lord, ii. 52, 87, 252, 256-7
— Lady, ii. 87, 252, 255
Warham, William, Archbishop of Canter-
bury, i. 321 ; ii. 250-1, 255
Wentworth, Sir Thomas, ii. 256
Wingfield, Sir Charles, ii. 254
Wyat, Sir Thomas, ii. 79, 250, 252
Zouch, Mary, ii. 256, 259
Unknown Man (called Dinteville), ii. 43,
69 and note, 257
— Englishman (Berlin), ii. 248, 259
— — (Chatsworth), i. 336 ; ii. 248
— — — i. 337 ; ii. 248
— — and Wife (Basel), i. 321 ; ii. 248,
260
■ — English Lady (Lady Guldeford ?)
(Basel), i. 321 ; ii. 87 note, 248, 260
■ — Young Man with Broad Hat (Basel),
i. 186 note; ii. 259-60
— — — profile, to right, ii. 257
— Lady in White Cap, ii. 258
— — ii. 70, 227
■ — — full face, ii. 214
— Boy, dated 1520 (Louvre), ii. 214
Portrait group of a Lady and Children
(British Museum), ii. 226-7
Windsor Castle, Collection of Heads of the
ladies and gentlemen of Henry VIII's
Court, &c. (general), i. 294, 309, 321,
328, 336: ii. 62, 69, 70/73. 79, 85-7.
101, no, 125, 134, 140, 191, 200-1, 223,
243-59, 318, 342
Designs for Woodcuts
Earliest dated title-page, i. 34, 191, 193,
253
Christ Bearing the Cross, i. 44
Jacob's Ladder (in Wolff's Pentateuch), i. 77
Table of Cebes, i. yj , 193-5
The New Jerusalem (Wolff's New Testa-
ment), i. yj
Title-page, Statue-Book of Freiburg, i. in,
193
Erasmus, roundel, i. 181
Erasmus "in eim Ghus," i. 181-2, 350;
ii. 276, 329
Various title-pages, &c, metal cuts by
Faber and " C.V.," i. 188
Mucius Scagvola, i. 191 -3
St. Peter and St. Paul (Luther's New
Testament), i. 195
Four Evangelists (Luther's New Testa-
ment, octavo edition), i. 195-6
St. Paul (Platter's New Testament), i. 196.
350
St. John Baptizing the Saviour, &c.
(Wolff, New Testament), i. 196-7
Death of Cleopatra, i. 198
David Dancing before the Ark, i. 198
Christ the True Light, i. 198-200
The Sale of Indulgences, i. 198-9
Borders, alphabets, printers' marks, &c,
i. 200-2, 231; ii. 332,
Dance of Death woodcuts, i. 48, 85, 153,
159, 175. l87. I90-I, 204-24, 226-9,
290 ; ii. 49, 50, 74, 87-8, 188, 264, 314-5.
345
Alphabet of Death, 1. 189, 201, 207, 224-6
Old Testament Woodcuts, i. 85, 187, 190,
204, 21 1-2, 226-30 ; ii. 74-5
Title-page, Coverdale's Bible, i. 97
Designs for Miinster's Cosmography, &c,
i. 350-1
Portrait of Nicolas Bourbon, ii. 74. 79
Woodcuts of English period, ii. 78-9
Title-page, Hall's Chronicle, i. 188 note;
ii. 79
Portrait of Sir Thomas Wyat in Ncenice,
ii. 79-81, 205
Holbein, Jacob, Hans Holbein's younger
son, ii. 301
— Johann Georg, Knight of Holbeinsberg,
ii. 300-1
— John, of Folkestone, and wife, ii. 302
— Katherine, wife of Jacob Gyssler, Hans
Holbein's daughter, i. 343-7 ; ii. 301
— Kunigunde (Kungolt), wife of Andreas
Syff, Hans Holbein's daughter, ii. 301
— Margreth, see Herwart, Margreth
— Michel, of Oberschonefeld (1448), i. 1, 2
— — leather-dresser, father of Hans
Holbein the Elder, and his wife, i. 2, 3
— Ottilia, i. 3
— Philip, Hans Holbein's eldest son, i.
105-6, 176, 343-7 ; ii. 1.62-4, 298, 300
— Philip, son of above, ii. 300
— Ursula, see Nepperschmidt, Ursula
— Sigmund, brother of Hans Holbein the
Elder, i. 3, 13, 20, 32 ; ii. 161-2, 300
— an Englishman, of Wells, ii. 301
— Chamber, Strawberry Hill, ii. 249
— Exhibition, Basel (1897-8), i. 79
— — Dresden (1871), i. 237 ; ii. 206, 211
— Society, i. 214
Holbein' s Ambassadors (MissM. F. S. Hervey).
1900, see Hervey
Holbein's Ambassadors Identified (Elias
Dexter), 1890, see Dexter
Holbein's Ambassadors Unriddled (W. F.
Dickes), 1903, see Dickes
Holbein's coat of arms, i. 1 ; ii. 280
Holbein's Gate, see Whitehall
Holbeinsberg, Knight of, see Holbein, Johann
Georg
Holbyn, Johannes, of North Stoke, ii. 301
Holdermeier, State Councillor of Lucerne, i.
79
Holford, Lieut. -Col. G. L., CLE. (collection),
ii. 3°4
422
INDEX
Holford, Mr. R. S. (collection), ii. 72
Holland, Earl of, i. 323
— Henry, Lord, Duke of Exeter, i. 334
— House, i. 328 and note
— Jane, i. 334
— Queen of (collection), ii. 220, 229-30, 355
— Robert, i. 334
— William, jeweller, ii. 287
Hollar, Wenceslaus, i. 27-8, 71, 87, 214, 308,
318, 320; ii. 15, 44, 61, 67-9, 77, 112,
166, 182 and note, 193-4, 200, 209, 214-5,
231, 253, 263, 275-6, 283, 329-30, 346
Holmes, Mr. C. J., i. 251
— Sir Richard, ii. 70, 228-9, 244, 250-1,
394-5
Holtesweller, Henry, jeweller, ii. 287
" Holtein," i. 17
Holtscho, house-master of London Steelyard,
ii. 24
Holyrood Palace, ii. 141
Holywell Priory, Shoreditch, i. 272
Holzwart, Matthias, poet, i. 132
Hondius, H., ii. 15
Hone, Galyon, glazier, i. 268
Honthorst, Gerard, i. 224 ; ii. 101 note
Hoorenbault family, see Hornebolt
— Lucas, painter of this name master of
Ghent Guild (1512-32), i. 264
Horace, ii. 332
" Horebout, Gerard," ii. 102
Home, Sir William van, Montreal (collection),
i. 185
Hornebaud, see Hornebolt
Hornebolt family, ii. 233-4
— Gerard, i. 263-8, 287 ; ii. 100, 102, 105,
217, 220
— Jacomyne, daughter of Lucas, i. 265
— Lucas, i. 263-8, 287 ; ii. 71, 100, 102,
104-5, 141-2, 197, 217-20, 236, 303
— Margaret, wife of Lucas, i. 265
— Susanna, i. 263-5, 268, 287 ; ii. 70-1,
217, 238-9
Horsham St. Faith's, ii. 85
Hoskins, John, ii. 235
Houbraken, Heads of Illustrious Persons
(1745), ii. 61, 181-2, 193-4
House of the Dance, see Dance
Houth, Thomas, ii. 6
Howard family, ii. 135, 191-2
— Queen Catherine, ii. 55, 192-7, 200, 207,
220, 222-3, 238, 254-5, 283, 286
— Charles, i. 178
— Lord Edmund, ii. 192
— " Frances, Duchess of Norfolk," ii. 228
— family of Greystoke Castle, i. 178 ; ii.
214. 347
— Henry, Earl of Surrey, see Surrey
— Mr., i. 171 note
— — Soho Square, ii. 135
— Thomas, Duke of Norfolk, see Norfolk
— Lord William, ii. 138
Howell, John, painter-stainer, i. 261
Huber, Andreas, tailor of Basel, i. 58
Hudson, William, ii. 72
Hueet, Hans, see Eworthe
Hueffer, F. M., ii. 395
Hughes, Gerard, jeweller, ii. 287
Humanae Industriae Monumenta (Faesch),
ii. 329
Humphreys, H. Noel, i. 214
Hungary, Isabella of. Queen of Denmark, ii,
117
— Queen Mary of, Regent of the Nether-
lands, ii. 115-16, 118-20, 122-4, 130-3,137,
148, 180, 344
Hunstanton, Norfolk, ii. 86
Huppertz, A., ii. 395
Hurebaut, Gheraerd, of Ghent, father of
Lucas Hornebolt, i. 264, 268
— Joris, i. 264
Hutchinson, Colonel, i. 167
Huth family, ii. 340
Huth, Mr. Edward, i. 293, 303, 306 ; ii. 221,
348
— Mr. Henry, i. 303
Hutten, Ulrich von, i. 36
Hutton, John, resident English agent in
Brussels, ii. 115-28, 130-1, 180
— Hall, i. 300
Hymans, H., i. 165 and note
Hythlodaeus, Raphael, i. 62, 163, 192
Iconoclastic outbreaks in Basel, i. 113, 177,
339-43. 352
Illustrated London News. ii. 294
Imhoff Collection, i. 18
Imhoff, Magdalena, i. 14
Immerzeel, De Levens en Werken, &c. (1842)
i. 265
Imperial Diet at Speier (1529), i. 185
Ingoldstadt, ii. 50
Inquisition, Spanish, i. 272
Interpretation of the Psalms (Bugenhagen),
i. 198
Inventare hansischer Archive, &c, ii. 19
Ipswich, Wolsey's College, i. 267
Ireland, National Gallery of, i. 335
Irmi, Anna, see Meyer, Anna
— Nikolaus, i. 236, 239
— Rosina, i. 239 ; ii. 328
Irnham Hall, Lincolnshire, ii. 305
Iron Acton, Gloucestershire, ii. 72
Isabella of Denmark, sister of Charles V, ii.
132, 137
Iselin, Johan Lucas, i. 190
— Lucas, i. 239-41 ; ii. 328, 330, 344
— Dr. Ludwig, i. 118, 123 ; ii. 156-7, 301
Isenheim, i. 5, 13-15, 18, 22, 32, 82, 148,
254
— Monastery of St. Anthony, i. 13, 22
Italian influences in Holbein's pictures, &c,
i. 75-8, 80-1, 250-1
— painters and sculptors in England, i.
270-87
Italy, Holbein's visit to, see Lombardy
Iveagh, Lord, ii. 35
INDEX
423
Jabach, Eberhard, banker, of Cologne, i.
173, 335 ; »• 65
Jacob, Brother, of Dominican Monastery,
Basel, ii. 156
Jager Collection, ii. 57
" Jak, Mother," nurse to Edward VI, ii. 70,
227
James I of England, ii. 13, 24, 130, 293
— — Catalogue, ii. 87
— II of England, Catalogue, i. 97 ; ii.
14, 224, 249
— V. of Scotland, ii. 139-41, 143, 147
James V and Marie of Lorraine, by an un-
known Scottish master, ii. 141 and note
Jane, maid to Hans of Antwerp, ii. 1 3
Janet (Jennet), ii. 105, 107, 137, 216 and note
Jenks (Gynkes), William, grocer, of London,
ii. 212
Jennings, Sir John, ii. 337
Jentill, see Gentils
Jenyns, Robert, the King's master mason,
i. 271
" Jeronimo Italion," see Treviso, G. da
Jessop, Dr. Augustus, i. 305-6
Jewel House, Master of the, see Amadas and
Cromwell
Jewellery (H. Clifford Smith), ii. 281-2
Johann Ernst, Duke of Saxony, ii. 94-5
John IV of Portugal, i. 16
Johnson, Mr. John G., Philadelphia (collec-
tion), ii. 206
Joinville, i. 176 ; ii. 139, 144, 147S2> J54-5.
343
Joseph, Mrs. (collection), i. 320
Jura, i. 233
Juxon, Archbishop, i. 322
Kainzbauer, L., ii. 395
Kaisheim Monastery, Donauworth, i. 9
Kale (for Fallen), ii. 22 note
Kamlin, Hans, i. 13, 22
Kannengiesser von Tann, Dorothea, wife of
Jakob Meyer, i. 52-5, 157-8,234,236, 239;
ii. 328
Karlsruhe Gallery, i. 38-9, 43, 63, 87, 101,
112, 160, 180, 249; ii. 354
— Grand Ducal Cabinet, i. 207
Kastner, Adolph, joiner, i. 9
— Georg, Abbot, i. 9
Katherine of Aragon, see Aragon
Kaulek ,ii. 143
Kensington Palace, i. 317, 319, 326 ; ii. 249,
252
Ketteringham, Norfolk, ii. 258
Kildare, Earl of, ii. 6
Killigrew, Sir Robert, i. 334
Kimbolton Castle, i. 266 ; ii. 104
King Saul and the Shepherd David (M. Holz-
wart), i. 132
King's Bencn, i. 293
— Book of Payments, see Royal Household
Accounts
— Walden House, Herts, ii. 104
Kinkel, G., ii. 395
Kinnaird, Lord (collection), i. 319 note
Kip, J., engraver, ii. 346
Kirkheimer, Erasmus, King's armourer, ii.
19, 298
Klingenthal Nunnery, Little Basel, i. 205
Kluber, Hans Hug, painter of Basel, i. 205 ;
ii. 311 note
Knackfuss, Prof. H., i. 50, 96, 112, 184, 186.
249 ; ii. 395
Knap ton Sale (1804), i. 309
Knepp Castle, Sussex, fire at (1904), i. 320 ,-.
ii. 212, 311
Knight, Life of Erasmus, i. 320
Knoedler, Messrs., ii. 340
Knole, i. 287, 307-8, 310 note; ii. 112, 201 ,.
303. 352
Knorr, banker, Lucerne, i. 71
Knowsley, ii. 245
Koberger, bookseller of Nuremberg, ii. 331
Koegler, Dr. Hans, i. 98 ; ii. 330-2, 395
Kolman family, armourers of Augsburg, i. 31
Konody, Mr. P. G., ii. 45 note
Kratzer, Niklaus, Henry VIII's astronomer,
i. 299, 327-30, 2,37, 35° ; "• 4, 43. 73. 88,
143, 152, 241, 255
Kugler, Dr., i. 237 ; ii. 395
Kulm, Dantiscus, Bishop of, i. 179
Kunigunde, Empress, i. 114
Kunstblatt, ii. 167
Kyrkenar, Erasmus, see Kirkheimer
Lachner family, of Basel, ii. 325
Lafenestre, i. 173
Lago, Alice di, ii. 228
— Jago di, of Newcastle-under-Lyme, ii.
228
Laine, Richard, painter-stainer, i. 261
" Lallenkonig," i. 351
Lambert, Bishop, i. 1 1 1
Lambeth Palace, i. 321-3, ii. 350
Lanckoronski Collection, Vienna, i. 20 ; ii.
211, 349
Landgrave, The, ii. 172
Lane, Sir Hugh P., i. 301 ; ii. 351
Lange, Jehan, jeweller of Paris, ii. 288
Languedoc, ii. 44
Lappenberg, Dr., ii. 2 note, 13, 24-5, 395
Larpent, S., Sur le Portrait de Morett, ii. 68,
395
Lasora, Nic, painter, i. 262, 314 ; ii. 310 note
Latronet, jeweller of Paris, ii. 288
Lausanne, i. 180
Lavater, i. 300
Lavaur (town), ii. 35, 40-2
— Bishop of, see Selve, George de
Lavena, Trolli von, i. 72
Law, Mr. Ernest,i. 97, 165, 167, 184,318, 333-
334; ii. 10,87,97, 103-4,193,199, 223, 225,
395
Lawrence Collection, i. 144, 156, 357 ; ii. 327
Layer Marney, i. 270
Le Blond, Michel, i. 28, 166-8, 239-41 ; ii. 330
424
INDEX
Le Brun, J. B. P., ii. 37-8, 45-8
— — — Galerie des Peintures, &c, ii. 37
— — Madame Vigee, ii. 37
Lebrune, Isaac, painter, i. 262
Lech Canals, Augsburg, i. 2, 19
Leconfield, Lord (collection), ii. 22, 97 and
note, 351, 355
Lee, Sir Anthony, ii. 82
— Sir Henry, K.C., ii. 82
— Lady, see Wyat, Margaret
— Dr., i. 329
— Priory, Kent, ii. 109, 18 1-2, 235
Leemput, Remigius van, ii. 94-7, 97 note,
09, 103-4
Lehmann, Rudolf, i. 238
Leicester, Earl of, i. 333
Leighton, Lord, Addresses to Students of the
Royal Academy, ii. 319-20, 396
Leipzig, and Museum, i. 100, 106 ; ii. 31
Leithauser, ii. 396
Leland, John, ii. 38, 80, 205 ; NcsnicE, i.
202-3 I poem on birth of Prince of Wales,
i. 203
Lely Collection, ii. 26
Lely, Sir Peter, ii. 345
Lenthall Sale (1808), i. 301 ; (1833) i. 301
— William, Speaker, i. 301 ; ii. 336
Leo X, Pope, i. 199
Leominster, ii. 119
Leonardo da Vinci, i. 74-6, 87, 106-7, I6°>
173, 250, 257
Leontorius, Conrad, i. 84
Leopold, Archduke, ii. 65, 209
Leopold William, Archduke, ii. 203
Lepzelter, Bastian, sculptor, of Basel, i. 58
— Martin, sculptor, i. 133
Leslie, Sir John, Bt. (collection), ii. 254
Le Strange, see Strange
Lewes (town), ii. 55
Lewis, F. C, engraver, ii. 250
— Rev. J., i. 295-6
" Leysure, Nic, a German," i. 314 note ; ii.
310 note
Lezard, see Lyzarde
Liancourt, Due de, i. 173 ; ii. 245
Lieberhaber-Bibliothek , i. 214
Liestall, near Basel, ii. 5
Lille Museum, i. 344
Linacre, Dr., ii. 208
Lincoln, Bishop of, ii. 226
Lindtmeyer, Daniel, glass-painter of Schaff-
hausen, ii. 326
Linton, Henry, engraver, ii. 294
Lippmann, Dr. F., i. 214
Lisbon, i. 14, 16, 22 ; ii. 300 ; Palacio das
Necessidades, i. 16, 22 note ; Museu
Nacional, i. 22 note
Lisle, Lord, i. 333
Lister, Lady, ii. 258
Little Basel, i. 90, 122, 351 ; St. Theodore,
i. 1 50 ; Klingenthal Nunnery, i. 205
Little Passion (Albrecht Diirer), i. 42-3
Lizardi, Nicolo, see Lyzarde
Lloyd, picture-restorer, ii. 293 note
Lobons, John, the King's Master Mason, i.
271
Lock, William, mercer, ii. 19, 92 note
Lockey, Rowland, i. 302
Lodge, Edmund, Lancaster Herald, ii. 250
Lodge's Portraits (1835), ii. 61
Lodi (town), i. 240
■ — Giovanni da, i. 240
Loftie Mr. W. J., F.S.A., ii. 346, 396
Lomazzo on Painting (trans, by Haydock),
ii. 308
Lombardy, Holbein's visit to, i. 42, 57, 64-5,
69, 72, 74-8, 80, 143, 251 ; ii. 314
" Lomentlin " (Anna), i. 20
London, i. 169, 257, 265, 268, 271, 273, 278,
280, 282-3, 289-90, 295, 302, 315, 328,
331 ; ii. 1-4, 9, 11, 13-5, 19, 22, 24, 30,
33- 35- 43-4. 59. 64. 67-8, 76, 80, 87, 91-2,
118, 121, 124, 139, 142, 145, 152, 154-5.
164, 172, 175-6, 184, 219, 221, 233, 261,
281, 288, 294. 297, 299, 300, 308, 319
— All Hallows St., ii. 2 ; Bridewell Hos-
pital, ii. 169 ; Bridewell Palace, ii. 42-3,
292 ; Cannon St., ii. 2 and note ; Christ's
Hospital, ii. 169 ; Cousins Lane, ii. 2 ;
Dowgate, ii. 2 ; Faningdon Without and
Within, i. 260 ; Fenchurch St., ii. 30 ;
Fleet, St. ii. 56 ; Gracechurch St., ii.
30 ; Great Fire (1666), i. 261 ; ii. 189, 299 ;
Guildhall, ii. 96 ; Holywell Priory, Shore-
ditch, i. 272 ; John Ball's Buildings, ii.
33 ; Lombard St., ii. 13, 287 ; London
Bridge, ii. 189 ; Mercers' Hall, i. 287 ; ii.
205, 304 ; Monk well St., ii. 289 ; Montagu
House, ii. 221-2 ; Parliament St., ii. 267 ;
Rolls Chapel, i. 272 ; St. Andrew Under-
shaft, Aldgate Ward, ii. 1, 188-9, 295-6,
299 ; St. Bartholomew's Hospital, i. 266 ;
ii. 101, 103, 234 ; St. Bride's, ii. 291 ;
St. Catherine Cree, ii. 299 ; St. Giles
without Cripplegate, ii. 305 ; St. James's
Palace, i. 284; ii. 137, 269-71, 333; St.
James St., ii. 269 ; St. Martin's-in-the-
Fields, i. 265 ; ii. 310; St. Martin Orgar,
i. 280 ; St. Nicholas Aeon, ii. 12-13; St.
Paul's Cathedral, ii. 294 ; St. Saviour's,
Southwark, ii. 307 ; St. Vedast in Chepe,
i, 260, 262 ; Soho Square, ii. 135, 337 ;
South-Eastern Railway Station, ii. 2 and
note ; Stafford House, ii. 165 ; Thames St.,
ii. 2 and note, 3, 5, 33 ; Tower, ii. 30, 200,
221 ; Tyburn, ii. 196 ; Waterloo Place,
ii. 60 ; Westminster, ii. 30 ; Westminster
Abbey, ii. 50 ; Westminster Palace, ii.
127, 310; Windgoose Alley, ii. 3, 21;
York House, ii. 14, 215
London, Registers of the Commissary of, ii. 294
Longford Castle, i. 164, 167, 169, 171, 177,
289, 202 ; ii. 37, 137, 214, 307, 352
Long Walk, Windsor Park, ii. 267
Longueville (town), ii. 140
— Charles d'Orleans, Duke of, ii. 139
INDEX
425
Longueville, Duchess of, see Guise, Marie of
— Francois, Duke of, son of Marie of
Guise, ii. 146-8, 344
Loo, Andries de, i. 295, 298, 323, 328 and
note ; ii. 60-1, 334-7
Lord, Robert, jeweller, ii. 287
Lorenzo, Antonio di Piergiovanni di, i. 273
Lorraine, ii. 120, 148, 150
— Anne of, ii. 145-6, 148-9, 153 note,
154-5, 176, 344
— Duke of, ii. 146, 149-50, 153 and note
— Duchess of, ii. 148, 152
— Christina, Duchess of, see Milan
Loseley MSS., ii. 244
Loskart, Jasper, i. 241, 243
Lossert, Johann, i. 240-1, 243
Lothian, Marquis of (collection), i. 304 note ;
»• 305
Lotter, J org, i. 13
Louis XII of France, i. 269 ; ii. 225, 234
— XIII of France, i. 173, 239
— XIV of France, i. 173, 323, 335 ; ii. 181
Lou vain, i. 179, 192
Louvre Gallery, Paris, i. 108, 122, 159-60,
171, 234 note, 304, 322, 325, 327-8, 335 ;
ii. 26, 81, 83, 85, 176, 181-3, 214, 237, 241,
255. 314. 353
Lovelace, Richard, Lucasta, ii. 345
Lovell, Sir Thomas, i. 272, 274
Lubeck, i. 204
Lucas, William, painter-stainer, i. 261
Lucerne, i. 31, 42, 46, 57-8, 63-7, 70-2, 74
78-82, 90, 100, 109, 1 16-17, 137, 142-4.
185, 197, 248 ; ii. 313, 323-4, 326
Lucerne, Brotherhood of St. Luke (Painters'
Guild), i. 64 ; Church of the Augustines,
i. 80-1 ; Convent of the Franciscans, i.
78 ; Fountain of the Cordeliers, i. 78 ;
Museum, i. 79, ii. 358 ; Town Library, i.
72, 74 ; Town Hall, i. 74
Lucian, i. 62
Ludi, Johannes, see Ludin
Ludin, Johannes, i. 239-40 ; ii. 328-30
Lugano, i. jy
" Luike, Cardinal of," ii. 116
Luini, i. 81, 87, 95
" Lukas, Master," see Hornebolt, Lucas
Lumley Castle, Collection and Inventory
(1590), i. 178, 304 and note, 318-20; ii.
81, 88-9, 99, 133-5. 243-5. 305. 307
— family, ii. 89, 245
— John, Lord, i. 178, 277, 304, 319; ii.
130. 133-5. 245
Lupset, i. 253
Luther, Martin, i. 212, 260
— — German Translation of New Testa-
ment (Petri), i. 195
— — German Translation of New Testa-
ment, quarto ed. (Wolff), i. 196
— — German Translation of Old Testa-
ment (Petri), i. 197
— — Servum Arbitrium, i. 291
Luton House, i. 266
Lutterell, Sir John, portrait by Eworthe, ii.
307
Liitzelburger, Hans, i. 44, 175, 181-2, 188,
189-91, 193, 195-7, 199, 201-2, 206-8,
210-3, 221-3, 226-9 ; ii» 77
— Jacob, i. 190
— Michael, i. 190
Lutzow, De, i. 237
Lydio, see Ludin
Lynne, Walter, printer, ii. 78-9
Lyon, i. 149, 174-5, 188, 190, 208-9. 211-13,
222, 224, 226-8 ; ii. 6, 38, 74-5, 187-8
— Corneille de, i. 305
— St. Pierre les Nonnains, i. 209 ; St.
Romain, i. 210
Lytle Treatise, &c. (Dr. U. Regius), ii. 78-9
Lyzarde, Nicholas, i. 287, 314 note; ii. 12,
309, 310 and note
Mabuse, i. 56, 307 ; ii. 93, 136-7
Machiels, A., i. 164 note, 166 note, 180 note ;
ii. 396
Machyn, Diary, i. 285
Macon, i. 174
Madresfield Court, ii. 304, 308
Madrid, Prado, i. 304 note, 334 ; ii. 356
Magazine of A rt, ii. 39
Magniac Collection Sale (1892), i. 335 ; ii.
234
Maguire. T. H., lithographer, ii. 125
Mahly, J., i. 170
Maiano, Giovanni da, i. 278, 280-1, 287 note,
314 ; ii. 266-7
Maintz, i. 190
Mair, Paulson, i. 13
Major, Dr. Emil, i. 85 note, 241 ; ii. 328-9,
396
Malcolm Collection, British Museum, i. 147,
357 ; ii. 226
Malermi Bible (1490), i. 230 note
Malines, i. 179 ; ii. 137
Maltravers, Lord, portrait by Eworthe, ii.
307
Manchester, Art Treasures Exhibition, 1857,
ii. 360-1
Manchester, Duke of (collection), ii. 61, 104
Mander, Carel van, i. 23, 27-8, 50, 74, 224,
252, 289-90. 295, 298, 328 ; ii. 15, 24, 29.
60, 94, 112, 134, 187, 213, 217, 231, 289,
290, 298-9, 344, 396
" Mane," see Maiano
Manion, see Maiano
Manners, Lady Victoria, ii. 396
Mannheim, ii. 20
Mantegna, i. 67, 73-4, 95, 114, 121, 151,
234 note ; ii. 27, 314
Mantes, ii. 333
Mantz, P., ii. 396
Manuel, H. R., i. 130
— Niklaus, see Deutsch
— Rudolf, i. 173
Margaret of Aiistria.. i. 264
— of Navarre, i. 305 ; ii. 145
426
INDEX
Margaret, Duchess of Savoy, daughter of
Francis I, ii. 139
— Princess, afterwards Queen of Scotland,
*• 353. 357 5 »• 136
Marguyson, i. 284
Mariette Collection, ii. 276
Marignano, battle of, i. 35, 66
Marillac, Charles de, French ambassador in
England, i. 282-3 5 "• l7^>> I07
Marlborough Collection, ii. 206
Marne, ii. 147
Marseilles, i. 305
Marthyn, Cornwall, i. 334
Martin- Holland, Mr. R., ii. 45 note
Martyr, Peter, ii. 226
Mary, Princess, Queen of England, i. 178,
266, 269, 311 ; ii. no, ii2, 135, 168, 172,
195, 200, 215, 235, 239, 257, 272, 304-5, 310
" Mary, Queen," portrait by " Evolls," ii.
308
Mary Tudor, sister of Henry VIII, widow of
Louis XII, afterwards Duchess of Suffolk,
i. 269, 357 ; ii. 193-4. 225, 227, 234, 258,
304
Mary, Queen of Scots, see Scots
Mary, Princess, daughter of Charles I, ii. 104
Mary and John (ship), i. 258
Mary Rose (ship), i. 258
Marzohl, Lucerne painter, i. 72
Mason, Sir John, ii. 168
Massmunster, Georg von, abbot of Murbach,
i. 145
Master of the " Death of Mary," 1. 335
Mather, Mr. F. J., ii. 206
Matted Gallery, Whitehall, see Whitehall
Matthias, Emperor, ii. 300
Mauclair, C, ii. 396
Maximilian, Emperor, i. 19, 20, 31, 49, 189,
217
— I, Elector of Bavaria, i. 17, 91-2
Mayfield, Staffordshire, i. 156
Mayn, John de la, see Maiano
Maynard, John, painter, i. 269, 271 ; ii. 298
Maynert, Henry, painter, witness of Holbein's
will, i. 269 ; ii. 242, 295, 298
Maynors, Katherine, miniaturist, i. 268-9 J
ii. 298
Mazzoni, Guido (Paganino), i. 270-1
Meade, Dr. (Sale), i. 164, 171 ; ii. 183
Meath, ii. 209
Mechel, Christian von, engraver, i. 183, 299 ;
ii. 5, 27, 300, 396
Mechlin, i. 264
Medici family, i. 199 ; ii. 85
— Lorenzo de', i. 271
— Maria de', i. 239-41 ; ii. 330
— Society, ii. 141
Melanchthon, Philip, i. 184-5, 351 ? "• 200,
241, 250
Melem, Von, i. 332
Melman, Henry, Steelyard merchant, ii. 6
Meltinger, Heinrich, burgomaster of Basel,
i. 22, 254
Melun, ii. 283, 333
Melville, Mr. James, ii. 343
Memlinc, i. 288-9
Memorials of Old Chelsea (Alfred Beaver),
i- 315
Mercator, Sir Michael, ii. 178
Mercers' Hall, i. 287
Merchants' Arithmetic Book (Apian, 1527),
ii. 50
Merchant Taylors' Company, ii. 107
Meres, Francis, i. 302 ; ii. 308-9
Mereworth Castle, Kent, ii. 189
Mergenthau, i. 3
Merian, C, i. 50, 206
— Friedrich, ii. 301
— Matthaus, Topographia Helvetia, i. 113,
131 ; ii. 15, 27, 301
Merlin, Conrad, i. 20
Merlo of Cologne Collection, ii. 202
Methuen, General Lord, i. 307
Metropolitan Museum, New York, i. 72, 179 ;
ii. 347, 400
Metsys, Quentin, i. 163-5, 169, 255, 288-9,
292
Mewtas (Meutas), Lady, ii. 140, 256-7
— — Peter, ii. 140-1, 143, 155
Meyer, Adelberg, burgomaster of Basel, i.
124 ; ii. 163, 298
— Anna, i. 234-6, 239
— C, i. 81
— Dorothea, see Kannengiesser
— Jakob, zum Hasen, i. 52-5, 6r, 109,
124-5, I3L 157, 174. 233-6, 239, 243, 343 ;
ii. 34, 256, 328, 330
— — — Hirschen, ii. 34, 158-9
Meyrick, General, ii. 182, 235-6
— Sir Samuel Rush, ii. 182, 235
Michelangelo, i. 271 ; ii. 186 note
Microcosmo (Scannelli), ii. 66
Middleton, Alice, see More, Lady
Mielich, Hans, painter, of Munich, ii. 241
Milan, i. 6, 75, 140, 174, 250, 283 ; ii. 159-60
— Brera Gallery, i. 251 ; Archaeological
Museum, i. 140
— Christina, Duchess of, ii. 25, 65, 88, 115-
138, 142, 150-1, 153 and note, 154—5, 171,
173-4, 176-8, 235, 255
Milburne, Mr., i. 167-8
Mildmay, Sir Henry B. St. John, Bt., i. 184
Milhars, Chateau de, Languedoc, ii. 44, 46
Millais, Sir J. E., and Sale (1897), ii. 206, 353
Miniatura, or the Arte of Limning (E. Nor-
gate), ii. 219 and note
Miniatures, Exhibition of, Brussels (191 2),
ii. 57 note, 230
— — — Rotterdam (1910), ii. 230
— — — South Kensington (1865), L
308 note ; ii. 72 note, 109, 183, 228
Mitcham, i. 279
Mitchell , William , Collection , British Museum ,
i. 188
Modecio. Nic. de, see Bellin
Modena (town), i. 281, 284 ; ii. 186, 201, 30 3
INDEX
427
Modena, Collection, ii. 66-7
— Duke of, i. 306 ; see also Este
— Nicholas de, see Bellin
Moddne, see Bellin
Modon, see Bellin
Molitor, Oswald, i. 45-6, 49, 52, 57, 66, 125
Monforde, barber-surgeon, ii. 291
Mont, see Mount
Montagu House, ii. 221-2, 230, 235, 309
Monteagle, Lady, ii. 256
Montecucculi, Marquis Massimiliano, ii. 66
Montmorency, Anne de, Grand Master of
France, i. 283 ; ii. 42-3, 139, 142-5, 152,
154
Montpellier, i. 84, 149, 151, 153, 174, 176
Montreal, i. 185
Montrottier, i. 210
Moor, The, ii. no
Mor, Sir Anthonis, ii. 235
Morant, Mr., ii. 53
More family , i. 243, 301
— Chapel, see Chelsea
— Sir John (Sir T. More's father), i. 293,
296-7, 300, 302-3 ; ii. 336. 338-9
— John (Sir T. More's son), i. 292, 294, 303 ;
"• 335-7
— Lady (Sir T. More's wife), i. 293-4, 296-7,
299, 300-1, 303, 337, 342 ; ii. 337-8, 340
— Sir Thomas More, i. 45, 62, 163-4, 169,
179, 191-3, 243, 252-3, 255, 289-310, 313,
316, 321-3, 335-8, 341, 357 ; ii. 1, 16, 25,
28-9, 65-6, 76, 84, 145, 185, 203-4, 212,
220-2, 250, 255, 271-2, 289, 331, 334-8, 340
— Thomas (More's grandson), i. 301
— — (More's great-grandson), i. 301
Morett, Hubert, French goldsmith, ii. 67-9,
288
Morette, Charles de Soliers, Sieur de, French
ambassador in England, ii. 49 note, 63-70,
256
Morgan, J. Pierpont, the late (collection),
i- 177-9. 3°7, 328 ; "• 61, 182, 219-21,
227-8, 231-2, 235-6, 240-1, 347-8
— — junior, ii. 214
Morning Post, i. 354 ; ii. 212 note
"Moro, II," ii. 66-7
Morysin, Sir Richard, ii. 165-6
Moseley, Acton, ii. 212
— Captain, H. R., ii. 212
— Mr. Walter Michael, ii. 212, 348
Moses and Aaron before Pharaoh (Felix
Chretien), see Chretien
Mount (Mont), Christopher, ii. 12 and note,
172-4
Miihlhausen, i. 46
Mundy, Alderman Sir John, jeweller, ii. 287
Munich, i. 15, 91, 98, 328-9, 350; ii. 231
note, 241
— Gallery, i. 9, 14, 27, 104, 331-2 ; ii. 20,
23, 93- 99, 100, 104, 248, 355
— Print Room, i. 12, 182 ; ii. 77, 236
— Academy of Fine Arts, i. 214
— Bavarian National Museum, ii. 241, 355
Munster, Sebastian, Cosmography, i. 173, 198,
350
Miintz, ii. 249
Murbach, i. 82, 145
Murner, Thomas, Geuchmatt, i. 59
Murten, battle of, i. 66
Musee Royal, i. 173
Mychell, John, servant to Hans Eworthe,
ii. 308
Myconius, see Moliter
Mytens, D., ii. 101 note
" Njekije," &c. (John Leland), i. 202-3 5 n-
80-1, 205
Nagely, Hans Franz, burgomaster of Berne,
ii. 162
Nancy, i. 176 ; ii. 139, 148-50, 154-5. 343~4
Napoleon, ii. 85
Nassau family, ii. 104
National Art-Collections Fund, i. 188 ; ii.
136
— Gallery, i. 286; ii. 17 note, 35, 37, 46,
52, 125, 127, 136, 210-n, 309, 340, 349
— — Catalogue, ii. 36-7
— — of Ireland, i. 335 ; ii. 350
— Portrait Exhibition (1862), ii. 109,221,
361-2
— — — (1866), i. 297, 308 ; ii. 79, 80,
85, 210, 212, 363-7
— — — (1868), i. 320, 332 ; ii. 367
— — Gallery, i. 269; ii. 60, 80-1, 104,
109, 167, 170, 194, 196, 205, 210, 305
— — — Trustees, i. 301
Navarre, Margaret of, see Margaret
Negker, Jost de, i. 189, 214 and note
Nell, Hans, i. 19
Nepperschmid, Ursula, sister of Hans
Holbein the Elder, i. 3 ; ii. 162
Nether land New Testament (1532), ii. 19
Neuburg, ii. 39, 48
Nevers, Francois, Duke of, ii. 154 note
Neville, Sir Edward, ii. 55
Newbattle Abbey, Dalkeith, ii. 305-6
Newcastle, ii. 204, 211
Newcastle-under-Lyme, ii. 228
Newdegate-Newdigate, Mr. F. A. (collec-
tion), ii. 210
New Gallery Winter Exhibition (1 899-1 900 ),4
ii. 184 note; (1901-2), ii. 382-3
New Hall, masking at, i. 259
Newmarket, ii. 293
New Testament (Erasmus), i. 45
Newton family, i. 173, 323 ; ii. 85
— J. Adam, i. 173
— St. Cyres, Devon, i. 306
New Year's Gifts to and from Henry VIII,
i. 267-8 ; ii. 12 and note, 164, 232, 238-9
New York, i. 72, 179, 320 ; ii. 82, 340, 347-8,
400
" N. H.," of Augsburg, i. 189
Nichol, History of Leicestershire, i. 302
Nicholas Florentine, painter, i. 314; ii. 310
note
428
INDEX
Nichols, F. M., F.S.A., i. 169 note, 291-2,
312-13, 315-16; ii. 271-3, 396
— John Gough, F.S.A., i. 164, 263, 274,
284 ; ii. 38, no, 170, 193, 298, 396
Nicolas, Sir Harris, Privy Purse Expenses of
Henry VIII, ii. 68, 396
Nimeguen, i. 190 ; ii. 19
Nimes, i. 174
Nonsuch Palace, i. 263, 276-7, 279, 287 ; ii.
135, 245, 270, 298
Norfolk, Thomas Howard, 3rd Duke of, ii.
65, 84, no, 124, 143, 171, 192, 194, 197-
200, 216 note, 255, 257, 305
— Thomas Howard, 5th Duke of, ii. 248
— — (1678), ii. 216
— Henry, 7th Duke of, Sale (1686), ii. 249 ;
(1692), ii. 198-9
■ — Duke of (present), ii. 135-6, 201, 303
— Mary, Duchess of, portrait by Eworthe,
ii. 307
— House, ii. 198-9
Norgate, Edward, Miniatura, &c, ii. 219
and note, 246-7 and note
Norman, Dr. Philip, ii. 2 note, 3 note, 33 note,
218, 219 note, 397
Norris, Sir Edward, of Bray, i. 178
— Henry, i. 178
— (or Noryce), John, i. 178
North, rebellion in the, ii. 19, 55
— Montague, i. 305
— Hon. Roger, i. 305-6
Northampton, ii. 228
Northbrook, Lord (collection), i. 50
Northcote, Essex, ii. 54
North Stoke, near Bath, ii. 301
Northumberland, Duke of (collection), ii.
112, 166, 352
— Earl of, ii. 89
Northwick Collection, i. 286
North Wokendon, Essex, ii. 71
Norton, ii. 1 1
Norwich, i. 325-7
Norwood, ii. 54, 56
Nostell Priorv, i. 295, 297, 299, 300; ii. 334,
336-7. 339-40, 352
Nottingham Pursuivant, i. 259
Noue, Le, Collection, ii. 246
Nouvelles Archives de V Art Francais, ii. 327
Noviomagus, Gerardus, of Nimeguen, i.
192-3
Nugce (Nicolas Bourbon), i. 211 ; 11. 73—5
Nunziata, Toto dell', father of Antonio To to,
i. 276
Nuremberg, i. 9, 92, 168, 171-2 ; ii. 278, 320,
33l
— Treaty of (1532), ii. 39, 46, 48
" Nycolas, Master," painter, i. 313-4 ; ii.
310 note
Oberhausen, Barbara von, sister of Hans
Holbein the Elder, i. 3
Oberried, Hans, i. 90-1
Oberschonefeld, near Augsburg, i. 1 , 2
Obynger, Olrycke, merchant, witness of
Holbein's will, ii. 295, 298
Ochs, Peter, i. 91 note, 127 ; ii. 397
(Ecolampadius, i. 350 note
(Emmel, see .Emilius, George
Offenburg, Dorothea, i. 158, 246
— Hans, i. 158
— Madgalena, i. 158, 162, 245-9, 252-3,
345-6
Old Testament woodcuts, i. 85, S7, 190,
226-30
Olisleger, Dr. Henry, Vice-Chancellor of
Cleves, ii. 174-5, 1%4
Oliver, Isaac, ii. 188, 209
— Peter, i. 302 ; ii. 166
" Olpeinus," i. 341
" Olpeius," i. 342 ; ii. 331, 341
Olpeius, Scverinus, ii. 331
Oporinus, i. 61
Orange, Rene, Prince of, ii. 1 54
— William of, ii. 104
Ordnance Department, ii. 297
" Oret, Andrewe," see Wright, Andrew
Orleans, ii. 233
— Charles d', Due de Longueville, see
Longueville
— Collection and Sale, ii. 5 and note
— Duke of, i. 242
— Gallery, i. 304
Osnabriich, ii. 305
Ostrelins, Maison des, Paris, ii. 25
Othmarsheim, i. 95
Ottener, Guillim, jeweller of Paris, ii. 288
Otto Henry of Neuburg, Count Palatine of
the Rhine, ii. 17 note, 39, 46, 48 and note,
49 and note
Oxenbrigge Chapel, Brede Church, Sussex, ii.
272
Oxford, i. 329 ; Bodleian Library, i. 171 note,
326 ; ii. 81 , 113, 247, 274 ; Corpus Christi
College, i. 260, 329 ; Merton College, ii.
208-9 ; St. John's College, ii. 183 ; St.
Mary's Church, i. 329 ; Wolsey's College,
i. 267
Oxford, Earl of, Sale (1741), ii. 205 note, 237
— Lord Treasurer, ii. 189
— Exhibition of Historical Portraits (1904),
i. 323 ? ii. 81, 184, 209, 3S3
Padua, ii. 64, 208
— John of, ii. 266
Paganino, see Mazzoni, Guido
" Pageny, Master," see Mazzoni, Guido
Palermo, i. 81 ; ii. 203
Palladis Tamia (F. Meres), ii. 308-9
Palmer, Major Charles, ii. 82, 348
Paludanus, i. 192
Panell, Thomas, ii. 12
Pantalus, first Bishop of Basel, i. 1 14, 137
Paris, i. 60, 147-8,171, 176, 204,266, 325 note;
ii. 25-6, 38, 44, 68, 71 note, 72, 141, 152,
162-4, 272, 288, 300, 342-3 ; Bibliotheque
Nationale, i. 142, 144, 207; Bibliotheque
INDEX
429
del'Institut, ii. 41 ; Cabinet des Estampes,
ii. 145 ; ChapeaufortMaison, ii.45 ; Louvre,
see Louvre ; Rue du Four, St. Germain-
des-Prez, ii. 45 ; St. Sulpice, ii. 42, 45
Parkenthorpe, Messrs., ii. 351
Parker, Archbishop, i. 322
— John, yeoman of the robes, i. 264 ; ii.
70, 217
— Lady, ii. 256, 258
Parliamentary Commissioners (1650), i. 276
Parma and Gallery, i. 177, 180, 351 ; ii. 66,
355
Parr, Queen Catherine, i. 269 ; ii. 233, 238
— Sir William, afterwards Marquis of
Northampton, ii. 256
Parrhasius, ii. 75
Parry, Sir Thomas, ii. 256
Parthey, G., i. 88 ; ii. 209, 397
Partitiones Theologiccs, &c. (Conrad Gesner),
i. 224
Pasqualigo, Venetian ambassador to Eng-
land, ii. 98
Passavant, i. 4, 14-15, 49, 50, 296 ; ii. 347
" Passion in Folio," owned by Sandrart, i. 1 57
Patenson, Henry, i. 294, 301-2, 305
Patin, Caroline, Tabellce Selectee (1691 ), i. 299 ;
"• 337
— Charles, i. 5, 23, 36, 8o-i, 88, 117, 127 ;
ii. 397, 167, 180, 186, 240, 253 ; ii. 94, 97,
231. 330. 397
Pavia, battle of, i. 61
— Certosa of, i. 69, 76, 140
Paynell, Thomas, ii. 172
Paynter-Stayners' Company, i. 260-1, 273
— Hall, Trinity Lane, i. 260-1
Peacham, Henry, Compleat Gentleman, ii.
186 note, 270, 332
— — Graphice, ii. 186 note
Peartree, Mr. M., ii. 227
Peasants' War, i. 207, 252, 254
Peltzer, R. A., ii. 397
Pemberton, Lancashire, ii. 228
— family, ii. 228
— Major-General R. C. B., ii. 228
— Robert, ii. 228
— Mrs. Robert, ii. 220, 228-9
— William, ii. 228
Pembroke, William Herbert, 1st Earl of (d.
1569), ii. 62, 268-9
— — 2nd Earl of, ii. 1 34
— — ii, 245-6, 248, 342
— Collection, ii. 222, 268
— and Montgomery, Earl of, ii. 62
Pencz, George, portrait of Erasmus, i. 171-2,
181
Pendrecht, ii. 187
" Pene, Anthony," see Toto
Pennacchi, Girolamo, see Treviso
— Piermaria, i. 286
Pennant, ii. 267
Penne, Barthilmewe, see Penni, B.
Penni, Bartolommeo, i. 276-7, 280 ; ii. 105,
303
Penni, Gian Francesco (II Fattore), i. 280
— Luca, i. 280
Penny, Bartholomew, see Penni, B.
Penruddocke, Mr. Charles, ii. 61
Pepys, Diary, i. 276; ii. 95, 186, 188, 271,
293-4
Perreal (de Paris), Jean, ii. 233-4
Perreau, Louis de, see Castillon
Perrenot, Antoine, i. 1 1 1
Peter Pounde Gamarde (ship), i. 258
Petre, Dr. William, ii. 175
Petre, Lord, i. 300
Petri, Adam, i. 59, 62, in, J 87, 190, 195,
197-8, 200, 228-9
— Heinrich, i. 350
Petworth, Sussex, ii. 22, 97, 169, 351
Pfleger, Hans, i. 19
Philadelphia, ii. 206
Phillip, Morgan, see Wolf, Morgan
Philipp of Neuburg, Count Palatine of the
Rhine, i. 305 note ; ii. 17 note, 39, 46, 48
and note, 49 and note
Phillips, Sir Claude, i. 164 note, 309 ; ii. 86,
125, 397
— Sir Thomas, Sale (1903), i. 282
Physicians, Royal College of, ii. 208-9
Picart, C, engraver, ii. 214 note
" Picart, Nicolas, Account of," i. 282
Piccard, T. Nieuhoff , ii. 1 86-8
Pierron, J. A., engraver, ii. 37-8, 46
Pirkheimer, Wilibald, i. 166, 168, 174, 340
Pisselieu, Anne de, Duchesse d'Estampes, ii.
194
Plasyngton, William, painter, i. 262
Plato, i. 199
Platter, T., publisher of Basel, i. 196, 350
note
Playne, David, painter-stainer, i. 261
Plepp, H. J., glass-painter, i. 129 not&
Plessis-Praslain, M. le Mareschal, ii. 42
Plumier, Alard (Alart Plymmer), jeweller of
Paris, ii. 142, 288
Pole, Cardinal, ii. 87
— Carew, Mr. W. H., ii. 210, 347
— Sir Geoffrey, ii. 55
Polisy, ii. 35. 38-41, 44, 48, 50
— Lord of, see Dinteville
Pollard, A. F., ii. 397
Pomarancio, II, see Pomerantius
Pomerantius (N. Circignano), i. 305-6
Pope, Sir Thomas, ii. 60
Porta, Hugo a, printer of Lyon, i. 227-8
Portland, Duke of, ii. 169
Portrait Miniatures, Special Exhibition of
(1865), i. 308 note ; ii. 72 note, 109, 183,
228
Poyntz (or Poyns), Anthony, ii. 72
— — Elizabeth, ii. 72
— — Joan, ii. 72
— — John, ii. 254
— — Nicholas, the Elder, ii. 71
— — — the Younger, ii. 63, 71-2, 342-3
Prado, Madrid, i. 304 note, 334
43°
INDEX
Prague Gallery, ii. 86, 348
"Praise of Folly" drawings, i. 45-50, 63,
85, 171, 186
Pre-Saint-Gervais, ii. 39
Price, J. E., ii. 2 note
Primadicis, Francisque de, see Primaticcio
Primaticcio, i. 257, 282 ; ii. 75
Prior, Matthew, ii. 345
Private Collections of England (F.G.Stephens),
i. 297
Privy Chamber, i. 178; ii. 119, 140, 173,
177. 185
— Council, i. 271, 283; ii. 59, 114, 117,
138, 142, 168, 177, 201, 208, 303-4
— Purse Expenses, see Royal Payments
Privy Purse Expenses of Henry VIII
(Nicolas), ii. 68
Privy Purse Expenses of the Princess Mary,
ii. 11
Propert, Lumsden, Collection, ii. 237, 241,
309
Prussia, Princess Elizabeth of, i. 242
— Prince William of, i. 237, 242
Przibram, Fraulein Gabriele (collection), ii.
57
Puttick and Simpson, Messrs., 1. 353, 356
Quad, Matthis, i. 23
Quandt, Von, ii. 67
Queen's House, see Buckingham Palace
Quesnel, Francois (portrait of Mary Ann
Walker), ii. 141
— Jacques, ii. 141
— Nicolas, ii. 141
— Pierre, ii. 141
Quicke family, of Newton St. Cyres, i. 306-7
— Mr. John, i. 307
Quaritch, Bernard, i. 214
Ouocote, ii. 207
Raczynski, ii. 397
Radnor, second Earl of, ii. ^7
— fifth Earl of, ii. 35
— Earl of (collection), i. 164 ; ii. 214 and
note, 308 note, 352
Raf (Rave), Jan, see Corvus
— Jehan, painctre de Flandres, see Corvus
Ramsden, Sir John, Bt., of Bulstrode Park,
ii. 52-3, 352
Raphael, i. 160, 250, 280, 286 ; ii. 24, 62,
245- 314. 33%
— Italian lead-caster, i. 314
Rastall (or Rastell), John, i. 259, 314
Ratcliffe, Lady, ii. 256
Ratisbon, i. 91
Rauner, Gumprecht, i. 19
Ravensburg, i. 1
Ravesbury, Surrey, i. 279
Rawlinson MSS., Bodleian Library, ii. 219
Rawnsley, Canon, ii. 397
Razet, Jacques, i. 28
Record Office, i. 267, 312 ; ii. 64, 127, 232
" Ree, Isle of," i. 166
Regius, Dr. Urbanus, ii. 78
Reinach, S., ii. 22 note, 397
Reinhart, H., ii. 209
Rembrandt, ii. 318 note, 342
Reperdius, Georgius, see Reverdino
Repertorium filr Kunstwissenschaft, ii. 331
Reskemeer, see Reskimer
Reskimer, i. 299, 333-4 ; ii. 255
— Catherine, see Trethurff
— Elizabeth, see Arundel
— Jane, see Holland
— John, of Marthyn, i. 334
— William, i. 334
Reuss (river), i. 138 ; ii. 324
Reutlingen, i. 84
Reverdino, Italian engraver, ii. 75
Revue de Champagne et de Brie, ii. 39
— des Deux Mondes, i. 107 not \
Reynolds, Sir Joshua, ii. 321
— — — Journey to Flanders, ii. 56
Rhenanus, Beatus, i. 84, 125, 168
Rhine, i. 141-2, 176, 288, 339
— Gate, Basel, i. 351
Rhone, i. 174
Rhoon, ii. 187
Rich, Sir Richard, Lord Chancellor, ii. 212,
256
— Lady, ii. 212, 256, 258
Richard I of England, ii. 2
— Ill of England, ii. 55
— servant to Hans of Antwerp, ii. 13
Richardson, Jonathan, the Younger, ii. 193
— Jonathan Collection and Sale (1746), i.
309, 324 ; ii. 68, 270
Richardson's Architectural Remains, &c, ii.
271 note, 397
Richmond, i. 20 ; ii. 184, 249
Richmond and Derby, Margaret, Countess
of, i. 307
— and Suffolk, Duke of, see Fitzroy
— Mary, Duchess of, wife of Henry
Fitzroy, ii. 110-11, 257
Richtenberger, i. 173
Rickenbach, near Constance, i. 33-4, 37; ii.
332
Ricketts, Mr. Charles, ii. 206
Ridgway, Captain (collection), ii. 60
Rieher, Eucharius, cloth-weaver of Basel,
i- 339
Ringle, Sixt, i. 113 ; ii. 329
Ripaille, Chateau de, near Thonon, ii. 71,
353
Rippel, Niklaus, glass painter of Basel, i. 121
Robinson Collection, i. 336 ; ii. 226
— Sir J. C, ii. 38, 292
Rocheford, Thomas, Lord, i. 281 ; ii. 38
Rochfort, Lady, ii. 196
Rodriguez Collection, Paris, i. 60
Rolingerin, Dorothea, i. 4, 7
Rollin, Nicolas, Chancellor (his hospital in
Beaune), i. 153
Rolls Chapel, i. 272
Romaynes, Peter, jeweller of Paris, ii. 288
INDEX
43 1
Rome, i. 165, 271, 277, 305 ; ii. 59, 66, ioi,
134; Corsini Gallery, i. 166; National
Gallery, ii. 93 note, 102-3, 35^ ; Palazzo de'
Crescenzi, i. 306 ; Vatican, i. 271
Romney, Constance, Countess of (collection),
i. 335 ; ii. 81
Ronsard, ii. 218
Roper family, i. 307 ; ii. 337
— Edward, ii. 334
— Margaret, i. 290, 292, 294-7, 3°3. 308-10,
337-8, 341-2 ; ii. 258, 334, 336
— William, ii 334, 397
Rosen, Kunz von der, i. 19
Rosenheim, the late Mr. Max, ii. 69
Rosiere, Marquis de la, ii. 72, 342
Rossie Priory, i. 319 note
Rosso, i. 280, 282
Rotherwas House, Hereford, i. 353
Rothschild & Sons, Nathaniel, ii. 35
Rotterdam, i. 180-1 ; Exhibition of Minia-
tures (1910), ii. 230
Rouen Museum, i. 245 ; town, ii. 272
Rouvray, Madame, ii. 343
Rovesham (Rovesanne), Benedict, see Rovez-
zano
Rovezzano, Benedetto da, i. 280-1, 287
note ; ii. 266
Royal Academy, ii. 319
— — Winter Exhibitions (1879), ii. 221,
230; (1880)1.320,332; ii. 135 ; (1901),
ii. 209; (1907), ii. 82; (1910), ii. 307;
(1870-1912)', ii. 368-73
— Payments and Household Accounts
(Hen. VIII), i. 261, 264, 268, 273-4, 276,
277 note, 280, 317, 330; ii. I2; 68, 90,
124-5, 143. 148, 150-1, 155. 175- 180,
190-1, 239
— Society, ii. 219
Rubens, i. 224, 240, 242, 304 note
Riidiswil, i. 58
Riidiswiler, Von, family, i. 58, 185
Rumohr, i. 92, 250 ; ii. 67
Rushden, Northamptonshire, ii. 228
Rushton Hall, Northamptonshire, ii. 169
Ruskin, John, i. 244 : ii. 8, 321, 397
Russell, Lord High Admiral, ii. 179
Russell, Sir John, ii. 141-2
Rutland, fourth Duke of, ii. 100
Rydham, Norfolk, i. 327
" Rye, plat of," i. 274
Ryff, Andreas, i. 80
Rynach, Ulv von, fisherman of Basel, i.
Rypyngale, Richard, painter-stainer, i. 261
Sackville, Lord (collection), i. 308 ; ii. 104.
112-13. 167, 169, 201, 352
Saffron Walden, i. 332
Saffroy, Mons., of Pre-Saint-Gervais, ii. 39
Sainsbury, Original Unpublished Papers, &c,
(1859), ii. 342, 397
St. Albans, ii. 58, 332
— Andrew Undershaft, see London
St. Albans, Anthony, Monastery, Isenheim,
i. 13. 22
— Bartholomew's Hospital, i. 266 ; ii. 101,
103, 234
— Benedictus, patron saint of Lucerne,
i. 70
— Catherine, Augsburg, i. 4, 7, 8, 10 ,14-15,
23-4
— Denis, Paris, i. 271
Saint-Dizier, ii. 147
St. Dunstans, near Canterbury, ii. 334
St. Edith, Monaster}'' of, Wilton, ii. 268
— Gotthard, i. 74, 80, 138 ; ii. 325
St. Ildefonse, Spain, ii. 327
— Moritz, Augsburg, i. 13
— Nicholas Aeon, see London
" St. Nobody " (Zurich Painted Table), i. 37
St. Oswald, Lord, i. 295 ; ii. 334, 339, 352
— Paul's Cathedral, i. 205
— Petersburg, Hermitage Gallery, i. 61 ,
180 ; ii. 62, 245-6
— Pierre de Reims, ii. 144
— Sauveur, Augsburg, i. 15
— Ulrich, the monks of, i. 19, 20
■ — Ursus, patron saint of Solothurn, i.
103-4, 109, ill. I4Q, 160
" Saints connected with the House of Habs-
burg," woodcuts, i. 189
Salford, ii. 6
Salting, George, Collection, i. 28, 309 ; ii.
14, 69 note, 181-2, 232, 239-40, 248, 252,
350
Samm, Herr, of Mergenthau, i. 3
Sancroft, Archbishop, i. 322
Sandby, Paul, ii. 346
— Thomas, R. A., ii. 346
Sanderson, Mr. R., Sale (1848), i. 332
Sandon Hall, Stafford, ii. 342
Sandrart, Joachim von, i. 3, 28, 36, 50, 92,
147, 157, 224, 240-1, 243 ; ii. 25, 27, 77,
133, 135, 187, 217, 231, 298-9, 310, 342, 397
Sandwich, i. 331
Sarburgh, Bartholomaus, painter, i. 88, 241;
ii. 328-30
Savoie, Jacques de, Due de Nemours, portrait
by Flicke, ii. 306
Saxony, i. 168
— King Frederick Augustus of, ii. 67
— Augustus III, Elector of, i. 242 ; ii. 67
— Johiann Ernst, Duke of, ii. 94-5
— Duke of, ii. 152-3, 172-4
Scannelli, Francesco, i. 306 ; ii. 66
Schaeufelin, Hans, ii. 47
Schaffhausen, i. 91; ii. 326
Schaffner, Martin, i. 20
Scharf, Sir George, i. 286, 320 ; ii. 26 note,
95 note, no, 125-6, 129-30, 137, 194, 231,
233. 237-8, 397-8
Schiavonetti, i. 320
Schij verts von Merode, Willem, ii. 342
Schinz, von, family, of Zurich, i. 50
Schlegel, Friedrich, i. 244
Schleissheim, i. 9
432
INDEX
Schlotthauer, Joseph, i. 214
Schmid, tanner, i. 109
— Elsbeth, see Holbein, Elsbeth
— Franz, i. 83 ; ii. 162-3, 300
Schmid, H. A., ii. 398
Schneeli, G., ii. 398
Schoffer, printer of Maintz, i. 190
Schonborn, Count von, Vienna (collection),
ii. 15, 16, 349
Schoner, Johann, ii. 50
Schongauer, Kaspar, i. 6
— Martin, i. 5, 6, 18
Schrott, Johannes, i. 19, 20
Schuman, Michel, i. 83
Schwartz, Christopher, of Munich, painter, i.
98
— Gumpret, i. 20
— Hans, i. 20
Schwartzensteiner, wife of Burgomaster, i.
20
Schwegler, painter of Lucerne, i. 72
Schweiger, Jorg, Basel goldsmith, i. 59
Scots, Mary, Queen of, i. 353, 357, ii. 147
Scrope, Maria, i. 301
Seder, Herr Anton, i. 33
Seeman, A., ii. 398
Seine, ii. 272
Seld, Jorig, i. 19
Selve, George de, Bishop of Lavaur, ii. 17
note, 35-6, 39-43. 48-51. 255
— Jean de, Premier President of Parlia-
ment, Paris, ii. 40-1
" Selve et d'Avaux, MM. de," ii. 37, 46-7
" Semel " (Seymour), Edward, ii. 112
Seneca, i. 296
Serlby, ii. 104
Sessac, Sieur de, ii. 42
Sesto, Cesare da, i. 250-1
Settignano, i. 273
Seville, i. 272
Seward, Mr. Edwin, ii. 27 note
Seymour family, ii. 101, 200, 237
— Queen Jane, ii. 65, 90-1, 94-6, 101, 109,
111-17, 138-9, 169, 180-1, 208, 234, 237,
254, 259, 274, 276, 280, 286, 313
Sforza, Francesco Maria, last Duke of
Milan, ii. 117, 128, 137
— Lodovico (" II Moro "), ii. 66-7
Shakespeare, Henry VIII, ii. 211
Shelley, Edward, portrait by Eworthe, ii.
307
Shelton, Norfolk, ii. 272
— Sir John and Lady, ii. 272-3
— Mrs., ii. 116
Shepherd, Rev. Charles, ii. 57
Sheppard, Dr. Edgar, Old Royal Palace of
Whitehall, ii. 185, 346, 398
Shere, i. 309
Sherrington, Sir William, ii. 256
Shoreditch, i. 272
Short, Robert, painter-stainer, i. 261
Shrewsbury, Earl of (temp. Henry VIII), ii.
211
Shute, John, painter, ii. 308
Silvestre, J., engraver, ii. 346
Simon, K., ii. 398
Simson, John, painter, i. 287
Singer's edition of Cavendish's Life of
Wolsey (1825), ii. 109
Singh, Prince Frederick Duleep, ii. 210
Sketchley, R. E. D., Holbein as Goldsmiths'
Designer, ii. 286 note, 398
Slingelandt, G. von (collection), i. 107
Sloane, Sir Hans, ii. 276, 278
Smetyng, Elard, of the Steelyard, ii. 6
Smid, Ludwig, i. 13
Smirke, Sir R., ii. 270
Smith, H. Clifford, Jewellery, ii. 281-2, 398
— John Russell, i. 214
— J. T., ii. 267
Snecher, Anthony, witness to Holbein's
will, ii. 295, 297-8
Society of Antiquaries, see Antiquaries
Socrates, i. 193
Solace and Consolation of Princes (Spalatinus),
»• 153
Sobers, Charles de, see Morette
Solimar, Thomas, King's secretary, ii. jt,
Solly Collection, ii. 6
Solothurn, i. 58, 106, 109-10
— Gallery, i. in ; ii. 358 ; Minster, i. 109
Somerset, Charles, Duke of, ii. 237
— Lord Protector, i. 305
Sotheby, Colonel, ii. 216 note
— Major-General F. E., i. 302 ; ii. 216 note
Souch, Mary, see Zouch
Sourdis, De, Collection, ii. 246
Southam Delabere, near Cheltenham, ii. 169
Southampton, William Fitzwilliam, Earl of,
ii. 65, 204 and note, 205, 211, 304
South Kensington, i. 308 note ; ii. 228
South Kensington Museum, Exhibition of
Portrait Miniatures (1862), ii. 361 ; (1865),
ii. 362-3
— Exhibition of National Portraits (1866),
". 363-7 5 (1868), ii. 2,67
Southwark, i. 262
Southwell, Mr. Edward, ii. 61
— Sir Richard, i. 330 ; ii. 83-5
Spalatinus, Georgius, ii. 152-3
Speier, Imperial Diet at, i. 185
Spencer, Earl (collection), ii. 14, 72, 93, 107,
109, 141, 234, 240, 352
Spenser, Robert, i. 265
— Thomas, painter-stainer, i. 261
Spontini, i. 242
Squire, Mr. W. Barclay, i. 164 note, 166
note ; ii. 50, 214, 308 note, 398
Stafford, Marquis of, i. 309
— Viscount, son of Thomas Howard, Earl
of Arundel, i. 335 ; ii. 25, 64-5, 199, 248
Stahlhof, see Steelyard
Stanley, Colonel, ii. 95
Stapylton, Mr. H. E. Chetwynd, ii. 85
State Papers, see Calendars of Letters and
Papers, &c.
INDEX
433
Steck, Matthaus, ii. 156
Steelyard, London, i. 159, 327, 330 ; ii. 1-35,
57-8, 88, 215, 219, 229, 255, 262-3, 2^7
— Alderman and Deputy, ii. 3, 6, 287
— allegorical paintings in, ii, 23-30
— Guild Hall and Council Chamber, ii.
2-5, 11, 13, 20, 24, 28, 313
— triumphal arch at Anne Boleyn's
Coronation, ii. 30-3
Steenwijk, Vos von, family, ii. 202
Steenwyck, Von, i. 167-8, 183-4
Stephens, Mr. F. G., i. 297-8, 320 ; ii. 398
Sternen Platz, Lucerne, i. 66
Stettin, Paul von, i. 4
Stettler, W., i. 50
" Stilliarde, le," see Steelyard
Stimmer, Tobias, ii. 311 note
Stock, Andreas, i. 179 ; ii. 15
Stockholm, National Museum, ii. 325
Stoddart, Miss Jane T., Girlhood of Mary
Queen of Scots, ii. 147, 398
Stodtner, F., ii. 398
Stokesley, Dr. John, Bishop of London, i. 237
Stokesly, Rydham. Norfolk, i. 327
Stolten, Hans, ii. 7
Stow, Annates and Survey, i. 330 ; ii. 30—1,
179, 294, 299, 346, 398
Stowe, i. 320
Strange, Mr. Hamon le, ii. 85, 352
— Sir Thomas le, ii. 85-6, 256
Strangeways, Richard, ii. 305-6
Strasbourg, i. 145, 168, 204, 253 ; ii. 27
Stratford le-Bow, i. 262
Strawberry Hill and Sale (1842), i. 184-5 ;
ii. 230, 237, 249
Strein, Richard, of Vienna, i. 181
Stretes, Guillim, i. 270, 287 ; ii. 104, 168-
170, 201, 204-5, 220, 234, 238, 241, 292,
303-4
Strickland family, of Cokethorpe Park, i. 301
Stroganoff, Count Alexander, Rome (col-
lection), i. 165-6
Strong, S. Arthur, i. 336 : ii. 47 note, 98,
101 note, 103 note, 285 note, 398
" Strote, William," ii. 303
Strowse, Geo., of the Steelyard, ii. 6
Stryienski, C, ii. 398
Strype, Memorials, &c, ii. 168, 201, 299, 303,
346, 398
Stuart, Alexander, Archbishop of St.
Andrews, i. 146
Stuttgart, i. 92
Subsidies of aliens in England, ii. 12
Sudeley Castle, ii. 137
Suermondt, Herr B. (collection), i. 144 ; ii.
15, 202
Suffolk, Anne, Duchess of, ii. 227
— Charles Brandon, Duke of, see Brandon,
Charles
— Mary, Queen Dowager of France,
Duchess of, see Mary Tudor
— Duke of, see Grey, Henry
— Duchess of, ii. 124
VOL. II.
Suffolk, Catherine de Eresby, Duchess of, ii.
225, 227, 254
— Duke of (temp. Charles I), ii. 233-5
— House, ii. 89
Sultz, Joachim von, i. 246
Surgeons, Guild of, ii. 289
— Royal College of, ii. 293
Surrenden Dering, Kent, ii. 334
Surrey, Henry Howard, Earl of, i. 287 ; ii.
65, 84, iio-ii, 168, 171, 194, 198 and note,
200-1, 204, 303-4
— Thomas Howard, Earl of, ii. 200
— Earl of (in Basel), i. 252
Survey of the Cities of London and West-
minster (Stow and Strype), ii. 299
Sussex, Earl of, ii. 133
Sustris, Lambert, painter, i. 98
Sutherland, Duke of (collection), ii. 61, 198
Sutton Place, i. 270
Svaunders, Derich, i. 264
— Margaret, i. 264
Sweden, King of, i. 165
— Queen Christina of, i. 180
Sybel, von, Collection, ii. 202
Syff, Andreas, miller of Basel, ii. 301
Symonds, Richard, i. 28 ; ii. 89
Syon House, ii. 166, 196, 352
" Table of Cebes," i. 193-5
Tarbes, Bishop of, French ambassador in
London, i. 283 ; ii. 124
" Tate, Bartilmew," see Penni
Teerlinc, George, of Blankenberghe, ii, 238-9
— Livina, i. 268 ; ii. 220, 238-40
Telverne, Cornwall, i. 334
Tenison's School, Archbishop, Leicester
Square, i. 171 note
Terouenne, i. 316
Tertullian, i. 194
Teutsche Akademie (Sandrart, 1675), i. 3 ;
ii. 77, 298
Thames, ii. 42
Thausing, i. 237
Thebes, i. 193
Theodoricus, i. 192
Thirty Years' War, i. 91, 180
Thonon, ii. 71, 353
Thorndon, near Brentford, i. 300; ii. 334
Thornham, Norfolk, ii. 210
Thornhill, Sir James, i. 171 note
Throgmorton, Margaret, see Pemberton,
Mrs. Robert
— Richard, ii. 228
Tieck, Ludwig, i. 244
Tillman, Bernhard, treasurer of the Berne
Council, ii. 162
Times, ii. 35, 38-9
Titian, i. 173
Tixall, ii. 61
Toke, Mr. John Leslie, i. 332
Tomkinson Collection, ii. 241
Tonjola, Basilea Sepulta, i. 127, 130, 349;
ii- 399
2 E
434
INDEX
Topographia Helvetia (Merian), i. 113
" Tornon, Cardynall of," ii. 333
Torrigiano, Pietro, i. 271-3, 276, 287 note
Torrington, Lord, Sale (1787), ii. 100
Toto, Antonio, serjeant-painter, i. 268, 273,
276-81, 287 note ; ii. 105, 142, 269, 298, 303
— Helen, i. 278
Touchet, John, ninth Lord Audley, ii. 223
Tournai, i. 6, 316
Touzele, Madame Jehanne de, abbess of St.
Pierre-les-Nonnains, Lyon, i. 209
Trappes, Thomas, jeweller, ii. 287
Traverse, Carlos de la, ii. 327
Treasurer of the Chamber's Accounts, see
Royal Payments
Treatise concerning the Arte of Limning
(Hilliard), ii. 218
Trechsel, Johann, i. 212
— Melchior and Gaspar, printers, of Lyon,
i. 175, 190, 208-13, 226-7
Trelawney family, ii. 16
Trethurff, Catherine, i. 334
— John, i. 334
Treviso, i. 286
— Girolamo Pennacchi da, i. 286-7 » **.
105, 266, 303
Trier, i. 145
" Triumphal Procession " (Burgkmair), i.
31. 189
Troyes, ii. 35, 40-1
— Bailly of, see Dinteville
Triimpy, Herr E., of Glarus, i. 344-5
Tschekkenburlin, Amalie, i. 90
— Hieronymus, i. 90
— Magdalena, see Offenburg, Magdalena
Tuck, picture-dealer, ii. 182
Tudor Exhibition (1890), i. 184, 300, 302,
319, 323, 325, 328 ; ii. 57, 61, 72, 82, 85,
112, 165, 170. 199, 216 note, 374-81
Tudor Exhibition, Manchester (1897), ii.
381-2
Tuke, Sir Bryan, Treasurer of the Chamber,
i. 275, 299. 33i-3> 337 I «. 90, 191, 223, 255
— Mr. W. M., i. 332
Tunstall, Bishop, i. 169, 329
Turin, i. 171, 180 ; ii. 65
Twiselton, John, jeweller, ii, 287
Tybis, Derich, Steelyard merchant, ii. 7, 17,
20-2
Tyrrell, Sir John, i. 300 ; ii. 335
" Tyrwin, plat of," i. 312, 315-16
Tyttenhanger Park, St. Albans, ii. 58, 60-2,
232, 35i
Uffizi Gallery, Florence, ii. 83, 213, 231
Ulm, i. 6, 8, 29
Uncle, Thomas, painter-stainer, i. 261
Upper Burgundy, Holbein's journey to, ii.
12 note, 115, 120, 129, 138-55, 164
Urbino, Duke of, ii. 38
Urbium Prcecipuarum Mundi, &c. (Braun,
1583), i. 276
Uri, i. 77 ; ii. 300, 324
Uri, Heini von, i. 71
Urmeston, Clement, i. 259
Urseren Valley, ii. 324
Usteri, poet and painter, i. 72
Utopia (Sir T. More), i. 45, 62, 163, 191-3,
253, 290, 299
Utrecht, i. 224
Utricke, John van, jeweller, ii. 287
Utterson Collection, ii. 226
Vaga, Perino del, i. 276, 286
Vanderbilt, Mr. W. C, New York (collec-
tion), i. 320 ; ii. 348
Van der Doort, Abraham, i. 172 ; ii. 25, 166,
188, 231, 245, 248
Vandergucht, ii. 37
Van der Weyden, Rogier, i. 5, 6, 289
Van Dyck, ii. 28, 198, 200
Van Eycks, the, i. 288
— Heerweghe, Jan, i. 264
— Home, Sir William, see Home
— Leemput, Remigius, see Leemput
— Mander, see Mander
— Merode, Willem Schijverts, ii. 342
Vane, Sir Harry, i. 165 ; ii. 13, 224, 341
— — Henry, Bt., i. 300
Varallo, i. 105
Vasari, G., i. 265, 271, 276-7, 280, 286-7 ; "•
239
— Society, i. 309 ; ii. 226
Vatican, see Rome
Vaughan, Stephen, i. 267 ; ii. 131
Vaux of Harrowden, Thomas, Lord, ii. 52-3,
86-7, 87 note, 252, 256-7
— Lady, ii. 86-7, 252, 255
— Sir Nicholas, i. 259, 319
Vauzelles, Jean de, poet and scholar of
Lyon, i. 210-12, 222
Velazquez, i. 349 ; ii. 318 note
Vendome, Margaret of, ii. 139, 144-6, 154-5
— Marie of, ii. 144, 154-5
Venice, i. 6, 230 note, 242-3, 286 ; ii. 37
Venturi, ii. 66
Vernon, Mr. John, ii. 107
Versailles Gallery, ii. 39
Vertue, George, i. 296, 320 ; ii. 26, 135, 169,
194, 198, 205 note, 216 note, 249, 253, 267,
309, 334. 336-8, 346
— Robert, the King's master mason, i. 271
Vetter, Christina, i. 8
— Veronica, i. 8
— Walburg, i. 8
Vetusta Monumenta, ii. 267
Vic, M. de, garde de sceaux, ii. 42
Vicary, T., barber-surgeon, ii. 291
Victoria and Albert Museum, ii. 167, 232, 350
— Queen, ii. 250
Vienna, i. 20, 60, 161 note, 171, 180-1, 189;
ii. 15-16, 57, 211, 236, 300, 331
— Albertina, i. 5, 60, 344 note
— Imperial Gallery, i. 60 ; ii. 7, 17, 20,
62, 65, 70-1, 109, 111-12, 201-3, 2°5~9»
211, 237, 255, 280, 348-9
Vierwaldstattersee, i. 143
'" Vincence of Naples," see Volpe
INDEX
435
Vinci, Leonardo da, see Leonardo
Vischer, Cornelius, i. 165
— Peter, ii. 270
Vittadini, Signor, Arcorre, i. 105 note
Vogelin, Professor Salomon, i. 37 ; ii. 399
Voll, Professor Karl, i. 1 5 ; ii. 399
Volmar, Conrad, ii. 301
Volpe, Vincent, i. 258, 273-6, 314-15
Von Hertenstein, see Hertenstein
— Hewen, see Hewen
— Hutten, see Hutten
— Mechel, see Mechel
— Sandrart, see Sandrart
— Slingelandt, see Slingelandt
— Steenwyck, see Steenwyck
— Sybel, see Sybel
Vorsterman, Lucas, engraver, i. 27-8, 179,
305 note ; ii. 26-8, 198, 231, 246
Vosges Mountains, ii. 156
Voss, H., ii. 399
Vries, Joan de, Sale (1738), i. 107
Vulp, see Volpe
Waagen, Dr., i. 14, 24, 242, 250, 266, 289,
297 ; ii. 86, 101-2, 107. 269, 303, 386-9, 399
Wagner, Leonhard, i. 20
Wagynton, William, painter-stainer, i. 261
Wake, Sir Isaac, ii. 65-6, 68
Wakefield, i. 295
Waldenburg, i. 233
Wales, Dowager Princess of, widow of
Frederick, Prince of Wales, ii. 199
— Frederick, Prince of, ii. 199
— Henry, Prince of, son of James I, ii. 244
Walker, Sir Edward, ii. 246
— Humphrey, metal founder, i. 271
— Mary Ann, portrait by Francois Quesnel,
ii. 141
— Mr. W. H. Romaine, ii. 85
Wallace Collection, ii. 230 and note, 350
Wallop, Sir John, i. 283-4 ; ii. 59, 139, 333
Wall-paintings in Augsburg, i. 65
— in Basel, i. 117-23
— in Lucerne, i. 65
— - and decorations in Westminster Palace,
i. 261-2
Walpole, Collection and Sale (1842), ii. 26,
230, 237, 270, 276, 337
— Horace, i. 167, 184, 243, 250, 263, 293,
296-7, 300-2, 322, 325, 328 and note;
ii. 26, 28, 94, 133, 135, 169-70, 179, 181,
189, 193-4. 199. 230, 237, 247 note, 249-51,
266, 301, 308, 334-5- 344-5. 399
— Society, ii. 218, 219 note
Walther, Anna, i. 10
— Johann, Geystliche Gesangbuchlein, ii. 50
— Maria, i. 10
— Ulric, i. 10
Wannewetsch, Hans Jorg, of Basel, painter,
i. 81
Warberge, Von, family, i. 242
Ward, Mr. T. Humphry, i. 287
Wardell, Joan, ii. 208
Ware, Abbot Richard, ii. 5 1
War ham, William, Archbishop of Canterbury ,
i. 169, 253, 255, 289, 299, 321-3, 337 ; ii.
1, 59,65, 250, 255
Warner, Robert, ii. 133
Wartburg, near Eisenach, i. 16
Warwick Castle, i. 266 ; ii. 100-4, 2I7
— Countess of, i. 328 note
Wassy, ii. 147
Watney, Mr. Vernon J., ii. 169, 237, 352
Wauters, Mr. A. J., i. 305
Weale, Mr. W. H. J., ii. 239-40, 399
Weaver, Mr. Lawrence, ii. 33
Wedigh family, of Cologne, ii. 15-16
— Hermann Hillebrandt. ii. 16-17, x7 note,
49 note
Weggis, near Lucerne, i. 66, 70
Wegmann, Hans Heinrich, of Lucerne,
painter, i. 81
Weigel, Rudolph, Collection, Leipzig, i. 106 ;
ii. 31
Weingarten, Abbey of, i. 7
" Weisskunig " (H. Burgkmair), i. 31
Well Hall, Eltham, i. 295 ; ii. 344
Wells Cathedral, ii. 301
Welser, Bartholomaeus, i. 10
Welser, Veronica, i. 10, 12, 24
Wenck, Petrus, i. 45
Wentworth, Sir Thomas, ii. 256
Wentz, J., i. 130
Werden, Gerard van, Steelyard merchant,
ii. 6, 10
Werner, Anton, ii. 399
West, William, Lord De la Warr, ii. 304
Westbury, Dean of, ii. 177
Westminster, parish of St. Margaret, i. 265 ;
hermitage of St. Katherine, i. 265 ; St.
Peter's, i. 271
— Abbey, i. 272, 287 note
— Palace, i. 275, 314 ; ii. 127, 142
— Marquis and Marchioness of, i. 332
Westmorland, Earl of, Sale (1892), ii. 222
Wettingen Cloisters, i. 79, 137
Weybridge, ii. 216
Weyden, Rogier, vander, see Van der Weyden
Wheel of Fortune (pictureat Chatsworth),ii.47
Whitehall Palace, i. 97, 257, 286, 301, 305 ;
ii. 25, 91, 94-5, 97 and note, 107, no, 137,
170, 185-8, 243, 263, 266-9, 292, 344-6
— — Fire at (1698), ii. 25, 94-5, 186, 293
— — "Holbein'sGate,"ii.i85, 266-9,345-6
■ — — Matted Gallery, ii. 95, 186, 271
— — Privy Chamber wall-painting, ii.
91,93-6,97,271,302,313
Whitehall, Historical and Architectural Notes
(W. J. Loftie), ii. 346
— Old Royal Palace o/(Sheppard), ii. 346
Whitley, Surrey, i. 258
Whorstley, English sculptor, i. 265
Wicklow, Earl of, Collection, ii. 277
Wieland, Daniel, i. 46
Wight, Isle of, ii. 165
Willems, Marc, ii. 170
Willett, Mr. Henry (Collection), ii. 104
William III of England, i. 107 ;ii. 57, 187, 203
436
INDEX
William V of Orange, i. 107 ; ii. 57
— of Prussia, Prince, i. 237, 242
Williams, Lewes, painter, i. 278
Williamson, Dr. G. C, i. 306 ; ii. 219 note,
220, 228, 230, 231 and note, 235, 240-1
and note, 304, 309, 399
Wilson, Hon. H. Tyrwhitt, i. 319, 325
— Thomas, Secretary of State to Queen
Elizabeth, ii. 225
Wilton House, ii. 62, 137, 248, 266, 268-9
Wiltshire and Ormonde, Earl of, see Boleyn,
Sir Thomas
Winchester, Bishop of, see Foxe, Richard
Windesore, Thomas, ii. 55
Windsor (town), ii. 208
— Castle and Collections, i. 97, 171, 178,
302, 317, 319, 324, 333, 337, 357 ; ii. 8, 14,
17, 19,44, 52.62-3, 73.90-L 103, no, 112,
125, 167, 169, 183, 191-3, 197, 200-1,
204-5, 2°7. 210, 212, 214-5, 222-3, 226-7,
233-4. 236-7, 243, 262, 307, 339, 350
— Park, Ranger of (Duke of Cumberland),
ii. 267
— — Long Walk, ii. 267
— St. George's Chapel, i. 280
Wingfield, Sir Anthony, i. 287
— Sir Charles, ii. 254
— Sir Richard, i. 268 ; ii. 137
Winn family, i. 295
— Mr. Charles, ii. 334-7
— Sir Rowland, i. 295 ; ii. 334, 337
Winstanley, Mr., i. 332
Wise, Ulric, Steelyard merchant, ii. 10
Witt, Anna de, ii. 342
Wittelsbach Collection (1597), i. 332
Wittemberg, i. 214, 328 ; ii. 50
Wit's Treasury (F. Meres), ii. 308-9
Woburn Abbey, i. 304 note ; ii. 112, 351
Wocher, Marquard, painter, i. 81
Wolf, Hans, of Lucerne, i. 66
— or Wolffe, John, painter, i. 274 ; ii. 1,
2, 6, 7 note
— (Fenwolf or Phillip), Morgan, ii. 10, 288
Wolfe, Reinhold, printer, i. 202 ; ii. 79, 332
Wolff, Thomas, i. 62, 187, 196, 202
Wolhusen, Christof Truchsess von, i. 158
Wolleb, Conradt, magistrate of Basel, i. 132
Wolsey, Cardinal, i. 169, 259, 267, 280-1,
321, 327, 329, 331, 334 ; ii. 16, 55, 59, 137,
187, 199, 288, 333
Woltmann, Dr., i. 4, 5, 14-15, 19, 23-5, 38,
51, 62, 93, 96, 102, 106-7, io9, 112, 121,
I23, 165, 169, 174, 184, 187-8, 211, 222,
228, 237, 247, 288, 292, 297, 299, 319, 326,
332, 334. 336, 344note,3s6; ii. 5, 9, io, 13,
16, 22, 26, 32, 37-8, 57, 60, 72, 77, 79, 97,
101, 105, 108, 125-6, 150, 158, 161-2, 175,
199, 203, 211, 223, 225, 230, 260, 269, 284,
323-5. 327. 329, 342, 347. 393. 399
Woodburne, Samuel, Sale (i860), ii. 67
Wooley, Henry, jeweller, ii. 287
Wooley, Nicholas, jeweller, ii. 287
Wootton, Dr. Nicholas, ii. 173-8, 180
Worcester, i. 265
Worksop Manor, ii. 135
Worlitz, Gothic House, i. 300
Wornum, R. N., i. 14, 92, 165 note, 167, 184,
237, 247, 263, 266, 297, 300, 306, 328,
331-3 ; ii. 37, 46, 49, 60, 72, 86, 101, 105,
125, 130, 150, 165-7, 169, 212, 225, 233,
269-70, 292-3, 298, 345, 400
Worsley, Sir Richard, ii. 165
Woulpe, see Volpe
Wright, coach builder, ii. 267
— Andrew, serjeant-painter, i. 261-2, 273
— Christopher, painter-stainer, i. 261-2
— Richard, painter-stainer, i. 261
Wriothesley, Thomas, ii. 117, 13 1-3, 211
Wurstisen, Epitome Historic Basiliensis
(1577), i. 126; ii. 400
Wyat, Sir Henry, i. 304, 306, 313, 327, 335-7 ;
ii. 79, 255
— Margaret, Lady Lee, ii. 82-3
— Sir Thomas, i. 203, 358 ; ii. 37-8, 65, 71,
79-83, 118, 205, 250, 252, 280
— Sir Thomas the Younger, ii. 81-2
" Wyat, Mr.," i. 357
Wyat's, Sir T., " Maze," ii. 81
— rebellion, ii. 82, 306
Wyatt, Mr. M. Digby, i. 275, 277; ii. 400
Wyndham, Elizabeth, ii. 237
— Sir Thomas, portrait by Eworthe, ii.
307
Wysaom family, painter-stainers, i. 261
Wyzewa, Mons. T. de, i. 107 note, 248 note,
345-6 ; ii. 3 1 8 note, 400
Yarborough, Earl of, ii. 104. 164-6, 353
Yattendon, Berkshire, i. 178
York, Queen Elizabeth of, wife of Henry VII,
see Elizabeth of York
— House, ii. 14, 215, 308
Younge, Mr. John, Master of the Rolls, i. 272
Zahn, A. von, i. 237 ; ii. 57, 86, 400
Zasius, Ulrich, i. 84, in
Zeitblom, Bartolomaeus, i. 6
Zetter, Herr Franz Anton, i. 1 10-1 1
Zetter-Collin, Herr F. A., i. 105 note, 1 1 1 note ;
ii. 400
Zeuxis, i. 227 ; ii. 75
Zimmerman, Gorg, tailor of Berne, ii. 161
Zouch (Souch), Lord, of Haringworth, ii. 259
— Richard, ii. 259
— Mary, ii. 256, 259
Zuccaro, Federigo, ii. 24, 26 and note, 27,
134. 336
Zurich, i. 35, 46, 50, 202, 224, 228 ; ii. 76,
156 and note, 213, 358
— State Library, i. 36-7
Zurich, Hans von, goldsmith, ii. 15, 65
Zwinger, Theodor, i. 1 1 8
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